7    -t> 


a 


i 


% 


i 


» 


'Dedicatory 


The  Founders  and  Builders  of  the  Selwyn-Harris  Thea- 
tres, mindful  of  the  present  greatness  of  Chicago,  and  with 
unlimited  faith  in  its  future,  dedicate  to  the  pleasure  of 
its  people  these  new  playhouses.  The  Twin  Theatres,  finest 
in  America,  are  the  fulfillment  of  an  ideal,  built  of  a  desire 
to  give  to  the  people  of  this  Wonder  City,  to  their  children1 
and  their  children's  children,  two  perfect  temples  of  the 
seven  arts  of  the  stage.    It  is  the  wish  of  the  owners  that 
these  theatres  may  be  permanent  seats   of  entertain- 
ment of  the  highest  quality,  and  that  in  them  may  J 
ever  be  found  that  which  delights  with  fancy  and 
instructs   with   truth,  which   relieves 
its   cares,  and   colors   with   romance 
humdrum   existence   of    every 
With  this  high  aim  the  Twin 
were  conceived;    to  this  great 
are  they  dedicated. 


vuii'j'iy/j 

ON 


4-J 

-f- 

(H 

g 

■I— 1 

CO 

c 
'E 

:- 

c 


-C 


-13 
O 

a 

in 


c 

u 
jEi 
U 


"For  the  Glory  of  Chicago 


55 


By  0.  L.  HALL 

(Dramatic  Editor  of  the  Chicago  Journal) 


THERE  is  nothing  in  the  growth  of  a  city  which 
arouses  livelier  interest  or  creates  a  greater  thrill 
than  the  dedication  of  a  new  playhouse.  A 
theater  is  more  than  a  place  of  entertainment;  it  is  a 
seat  of  community  pride.  The  charm  of  a  city  is 
measured,  by  the  stranger  within  its  gates,  by  the 
volume  and  quality  of  entertainment  he  may  find  in  it, 
and  a  city's  maturity  is  gauged  by  the  fondness  of  its 
people  for  harmless  and  exhilarating  play  and  by  their 
ability  to  promote  and  support  the  means  of  gratifying 
that  fondness. 

The  theater  is  the  most  nearly  perfect  institution 
yet  devised  for  the  entertainment  of  mankind.  It  has 
existed  for  thousands  of  years — almost  from  the  begin- 
ning of  civilization — and  has  endured,  unaltered  in 
purpose,  though  constantly  enriched  in  means,  from 
the  time  when  man  first  found  delight  in  observing 
himself  copied,  flattered  or  ridiculed  by  other  men 
having  the  actor's  gift. 

The  city  that  would  justify  its  claim  to  greatness 
points  not  to  its  trade  balances,  but  to  the  capacity  of 
its  people  for  the  enjoyment  of  life.  This  capacity  is 
evidenced  by  comfortable  homes,  clean  streets,  great 
park  areas,  by  libraries,  museums  and  art  galleries,  but 
it  is  evidenced  by  nothing  more  than  by  the  number 
and  beauty  of  its  theaters.    Nothing  gives  to  a  city  finer 


distinction  than  the  possession  of  a  group  of  attractive 
playhouses.  The  stage  is  indispensable  to  the  welfare 
of  any  community. 

If  the  dedication  of  a  theater  is  an  event  of  recog- 
nized importance  in  the  life  of  a  community,  the  simul- 
taneous dedication  of  two  playhouses,  twin  temples  of 
the  most  democratic  of  the  arts,  is  an  event  to  stir  the 
imagination.  Here,  side  by  side,  have  arisen  two 
splendid  buildings  to  attest  the  faith  of  famous  showmen 
in  the  future  greatness  of  Chicago.  The  Selwyn  and 
Harris  theaters  represent  a  rare  and  lovely  gift  to  an 
appreciative  public.  They  represent  more  than  at  first 
glance  may  be  seen,  for  they  are  a  measure  of  the 
esthetic  rather  than  of  the  material  growth  of  the  city. 

The  owners  of  these  theaters,  the  Messrs.  Selwyn 
and  Sam  H.  Harris,  in  bestowing  their  gift  upon  Chicago, 
are  generous  beyond  example.  From  the  time  when, 
in  October,  1837,  Harry  Isherwood  and  Alexander 
MacKenzie  introduced  the  drama  here  at  the  Sauganash 
theater,  through  all  the  years  of  the  amazing  progress  of 
this  wonder  city,  no  manager  or  group  of  managers  has 
performed  a  single  act  of  generosity  equalling  that  of 
the  Messrs.  Selwyn  and  Mr.  Harris. 

The  theatrical  history  of  Chicago  may  be  written 
more  easily  in  names  than  in  dates  and  events.  Some 
are  the  names  of  men  now  living,  and  failure  to  list 


O.  L.  Hall,  one  of  America's  lealing  authorities  on  the  Theatre 


them  here  does  not  detract  from  the  value  of  their  serv- 
ices. Many  names  shine  brightly  in  the  eighty-five 
years  of  managerial  history  of  the  local  stage,  and  there 
is  not  a  man  in  the  long  line  who  would  not  be  proud 
tonight  to  stand  sponsor  for  these  new  playhouses. 
John  B.  Rice,  James  H.  McVicker,  Richard  Hooley, 
John  A.  Hamlin,  J.  H.  Haverly,  Frank  E.  Aiken,  W.  B. 
Clapp,  C.  E.  Kohl,  Will  J.  Davis — one  can  not  write 
the  history  of  the  Chicago  stage  without  naming  them. 
They  were  valiant  fighters  for  the  glory  of  the  growing 
city  and  helped  to  spread  its  fame. 

The  formal  opening  of  the  Selvvyn  and  Harris 
theaters  is  an  event  outshining  any  single  achievement 
of  those  respected  pioneers.  The  Messrs.  Selwyn  and 
Mr.  Harris  are  likewise  makers  of  history,  as  well  as 
builders  and  operators  of  playhouses. 

They  know  well  what  they  are  doing.  They  have 
long  occupied  positions  in  the  front  rank  of  American 
producers  of  theatrical  entertainment.  They  have  held 
to  a  high  plane  of  activity  and  have  made  enviable 
reputations  as  courageous,  energetic,  high-minded 
managers.  They  have  sought  to  make  their  names 
trade-marks  of  excellence.  By  producing  the  best  ob- 
tainable plays  they  have  merited  and  found  prosperity, 
and  out  of  the  success  of  their  numerous  and  varied 
enterprises  have  grown  these  two  handsome  playhouses. 

In  the  case  of  theaters,  as  much  as  with  human 
beings,  handsome  is  as  handsome  does.  To  what  pur- 
poses these  houses  will  be  given  is  amply  indicated  by 
the  past  and  present  interests  of  the  owners.  In  their 
activities  they  passed  long  ago  the  stage  of  experiment 
and  doubt.  They  have  been  strong  defenders  of  native 
drama  and  have  aided  many  a  playwright  to  find  his 
public,  but  they  have  given  evidence  of  an  equal  interest 


in  the  drama  of  every  land  when  it  has  been  suitable  for 
American  audiences. 

It  is  notable  that  two  countries  should  supply  the 
dedicatory  plays  for  the  Selwyn  and  Harris  theaters; 
England  provides  "The  Circle"  for  one  stage,  America 
gives  "Six-Cylinder  Love"  to  the  other.  These  are 
plays^believed  to  be  representative  of  the  nations  which 
furnish  them.  Plans  for  the  further  use  of  these  theaters 
include  the  exploitation,  under  the  very  best  conditions, 
of  drama  and  comedy  of  the  highest  quality. 

Even  as  the  Selwyn  and  Harris  theaters  are  orna- 
ments to  the  city  in  an  architectural  sense,  so  will  they 
be,  their  owners  are  determined,  a  credit  to  the  city  as 
places  of  pleasure.  Inasmuch  as  the  names  of  the 
Messrs.  Selwyn  and  Mr.  Harris  have  a  definite  meaning 
to  American  "playgoers  from  one  coast  to  the  other,  it 
was  a  happy  thought  that  their  names  should  be  given 
to  their  theaters  in  this  mid-continental  metropolis. 

It  may  be  taken  for  granted  that  effort  to  achieve 
perfection  in  the  conduct  of  these  playhouses  will  not 
be  relaxed  now  that  the  important  task  of  opening  them 
has  been  so  successfully  accomplished.  What  is  well 
begun  is  half  done,  but  there  is  ever  still  something  to 
do.  All  that  is  required  to  be  done  to  keep  these 
theaters  among  the  very  best  in  America  will  be  done. 
The  vast  resources  of  two  great  producing  firms  and  of 
their  allies  are  at  the  command  of  these  new  houses. 

Chicago  gives  glad  welcome  to  the  Selwyn  and 
Harris,  to  their  owners,  to  Mr.  Crosby  Gaige,  who  was 
chiefly  instrumental  in  promoting  the  construction  of 
the  theaters;  to  all  who  will  be  concerned  in  their 
operation,  and  to  the  long  succession  of  players  who 
will  find  these  stages -ideal  for  their  purposes. 


When  Show  Business  Claimed 

Crosby  Gaige,  the  Profession 

Gained  a  Real  Genius 


By  PAUL  SWEINHART 


THE  USUAL  road  to  a  high  place  in 
the  theatrical  world  is  along  the 
vividly  colored  highway  of  publicity 
with  trumpets  right  and  trumpets  left, 
trumpets  fore  and  trumpets  aft.  Few 
there  are  who  have  reached  the  heights  of 
affluence  and  station  without  the  aid  of 
brass  band  tactics. 

And  yet  once  in  a  while  an  exception 
is  found  that,  through  its  rarity,  stands 
out  like  a  New  York  show  girl  on  a  hick 
town  street,  an  exception  that  proves 
success  of  the  biggest  measure  can  lie 
gained  even  in  the  world  of  make-believe 
without  the  aid  of  the  tom-tom. 

Illustrative  of  that  point  is  Crosby 
Gaige  of  Selwyn  &  Co.  whom  Sol  Bloom, 
hair-trigger  theatrical  real  estate  operator, 
once  said  was  "the  greatest  financial 
genius  of  the  show  business."  Which  is 
some  compliment  when  one  takes  into 
account  that  Lee  Shubert,  H.  H.  Frazee, 
"Larry"  Weber  and  several  others  would 
pass  any  Edisonian  test  imaginable  were 
it  composed  entirely  of  questions  relating 
to  the  juggling  about  of  millions  on  paper. 
The  record  of  Gaige,  however,  shows  that 
he  has  little  to  fear  from  comparison  with 
any  of  them. 

Crosby  Gaige  was  born  to  get  ahead 
in  the  theatrical  or  any  other  field;  that  is, 
he  was  not  born  in  New  York  City.    If  he 
had  been,  the  chances  are  that  he  would  be 
a    wise-cracking    sort    of    individual    who 
could  tell  you  the  location  of  every  cabaret 
in  the  city,  but  who  would  be  working  as 
a  clerk  in  a  broker's  office  and  dreaming  of 
shooting  Indians  in  the  streets  of  Detroit. 
Instead,  he  began  the   first  scene  of  his  life  drama  in 
an  up-State  town  thirty-nine  years  ago   and  liked  it 
so  well,  that    he    remained    there    until    it    was  time 
for  him  to  go  away  to  school. 

The  entrance  into  school  of  any  lad  is  an  important 
event  in  his  life,  for  it  marks  the  point  at  which  father 
and  mother  begin  to  shape  him  for  a  world  beater. 
And  the  heads  of  the  Gaige  family  did  not  neglect 
their  duty,  for  they  decided  that  the  young  hopeful 
of  the  household  should  become  a  lawyer,  with,  of 
course,  the  honors  of  Congressman,  Senator  and  pos- 
sibly the  Presidency  of  the  United  States  to  follow. 
Young  Crosby  thought  pretty  well  of  the  plan, 
although  his  thoughts  were  more  in  the  direction  of 
being  attorney  in  a  big  murder  trial  where  mystery 
and  crime  stalked  hand  in  hand  through  every  sitting 
of  the  honorable  court.  Therefore,  it  was  with  great 
avidity  that  he  began  the  studies  which  carried  him 
through  a  small  up-State  seminary  and  finally  matric- 
ulated him  at  Columbia  University  in  1899. 


CROSBY  GAIGE 

Hut  one  of  the  unscheduled  courses  that  almost 
every  college  has  is  that  of  conducting  the  college 
paper  and,  strange  to  say,  most  every  boy  in  college 
wants  to  take  just  that  course.  Gaige  was  no  excep- 
tion and  was  soon  employed  on  that  Columbia 
Spectator — as  an  office-boy.  When  he  had  acquired 
all  the  tricks  of  that  trick  position,  however,  he  was 
promoted  to  a  higher  position  and  so  kept  climbing 
until  he  was  editor  of  that  journal  of  scholastic  com- 
ment and  observation.  He  liked  the  idea  of  the  work, 
too,  and  in  a  short  time  was  serving  news  about  the 
freshies,  sophs  and  anybody  else  around  the  campus 
to  the  Times  and  other  daily  newspapers. 

It  was  while  thus  employed  that  young  Gaige 
made  the  acquaintance  of  Roi  Cooper  Megrue.  who 
has  since  made  some  grand  little  name  tor  himself, 
and  together  they  became  the  victims  of  a  dire  college 
disease;  they  wanted  to  write  the  college  play.  Their 
friends  remonstrated  with  them  and  they  themselves 
(Continued  on  page  eight) 


CROSBY  GAIGE  ALWAYS  SEES  TO  IT 
THAT  HIS  TASKS  ARE  WELL  DONE 


(Continued  from  page  six) 
didn't  know  what  il  was  all  about.  But  the  virus  was 
working  and  once  they  were  given  permission  they 
chucked  all  their  books  out  of  the  window,  figurative- 
ly speaking,  and  set  to  work  with  a  firm  conviction 
that  Clyde  Fitch  didn't  know  the  half  of  playwright- 
ing  anjd  the  Broadway  musical  comedy  manufacturers 
wouldj  never  realize  how  little  they  knew  of  their  craft 
until  tjie  next  Columbia  play  appeared.  They  divided 
the  work  up  between  them,  with  Megrue  doing  the 
book, 'Gaige  the  lyrics  and  another  chap  the  music. 
Heavy  were  the  bills  lor  midnight  electricity,  sleepy 
were  the  days  that  followed,  but,  after  due  course, 
"The  Isle  of  Illusia"  was  finished,  staged  and  pro- 
duced] and  the  trio  that  had  turned  it  out  were  hailed 
as  masters  about  the  campus. 

Bijt  college  plays,  while  they  are  long  on  glory, 
don't  bring  much  "dough,"  as  they  say  in  the  show 
business  and,  with  their  spurs  thus  won,  Gaige  and 
Megrue  began  looking  for  new  worlds  to  conquer. 
They  did  not  hover  into  sight  very  quickly  though, 
and  the  youngsters  had  very  healthy  appetites,  which 
soon  forced  them  to  pay  a  little  attention  to  the  re- 
plenishment of  their  bank  accounts. 

This  decision  on  their  part  turned  them  both  into 
what  night  be  called,  through  a  long  stretch  of  the 
imagination,  restaurateurs.  The  name  is  unimpor- 
tant, but  the  work  was  very  much  otherwise,  for 
they  undertook  to  feed  the  2,000  students  that  were 
then  at  Columbia,  which  means  2,000  appetites  four 
timeslas  great  as  that  of  the  average  man.  Every 
morning  Megrue  and  Gaige  would  go  to  their  steward 
and  lay  out  what  was  to  be  the  menu  for  the  following 
day  and  then  see  that  it  was  prepared  and  served  in  a 
style  'befitting  Columbia  and  the  stomachs  of  their 
patrons.  If  either  Gaige  or  Megrue  should  ever  go 
brokej  they  could  at  once  start  a  restaurant  and  run 
it  as  Efficiently  as  any  Greek. 

It  [was  while  serving  luncheon  one  day,  however, 
that  the  big  turning  point  in  their  careers  arrived,  for 
they  chanced  upon  a  book  entitled  "The  Lieutenant 
Governor"  which  after  they  had  both  read  it,  they 
decided  would  make  a  good  play.  So  they  went  to 
Miss  Elizabeth  Marbury,  then  in  the  play  brokerage 
business,  and  asked  if  they  could  dramatize  it. 
Wheeling  'round  in  her  chair,  Miss  Marbury,  who 
might  now  be  called  "the  Charles  Murphy  of  the 
women  voters  of  New  York  State, "  said  certainly 
with  one  breath  and  with  another  asked  them  how 
they  would  like  to  become  play  readers  for  her  at  $5.00 
per  week  each.  And  right  there  two  young  men  rose 
up  from  their  seats  and  said,  "When  do  I  commence 
work? " 

Now,  play  reading  and  restauranting  do  not  make 
a  very  good  combination,  although  Megrue  used  to 
do  the  reading  in  the  forenoon  and  Gaige  in  the 
afternoon,  the  off  member  supervising  the  mess-hall 
requirements  during  the  rest  of  his  day. 


The  scheme  did  not  work  out  well,  however,  and, 
after  a  bit,  Megrue  quit  college  altogether  and  joined 
the  Marbury  office,  Gaige  going  into  the  office  of 
Alice  Kauser  some  time  afterward.  In  both  places 
they  got  good  training  in  what  a  play  should  be,  how- 
it  should  be  produced  and  all  the  other  details  of 
production,  for  both  Miss  Marbury  and  Miss  Kauser 
knew   show    business    down    to    the    first     principles. 

Some  years  later  Gaige  met  Archie  and  Edgar 
Selwyn,  and  when  they  told  him  that  they  were  start- 
ing a  play  brokerage  office,  he  said,  "I'm  with  you," 
right  on  the  spot  and  moved  into  their  offices  in  the 
Knickerbocker  Theatre  Building.  Later,  when  Edgar 
began  to  write,  he  bought  an  interest  in  the  firm  that 
has  never  been  relinquished. 

Through  the  succeeding  years,  during  which 
Selwyn  and  Company  became  producers,  Gaige 
devoted  more  and  more  of  his  time  to  the  financial 
affairs  of  the  firm  and  it  is  through  his  management 
of  the  intricate  problems  that  arise  in  such  work  that 
he  won  the  admiration  of  the  real  estate  operator 
referred  to  before. 

When  Selwyn  and  Company  began  the  acquiring 
of  theatres,  it  was  Gaige  who  executed  most  of  the 
deals  and  it  was  under  his  supervision  that  the  Selwyn, 
the  Apollo  and  the  Times  Square  have  come  to  grace 
West  Forty-second  street  in  New  York  and  the  Twin 
Theatres  in  Chicago.  His  was  the  eye  that  planned 
them,  arranged  their  finances  and  watched  them 
slowly  rise  to  completion,  and  all  who  have  visited 
them  know  how  well  the  task  was  done.  Gaige  has  a 
complete  knowledge  of  a  theatre,  whether  it  be  as  to 
what  color  scheme  would  be  best  for  the  ceiling  or, 
whether  their  should  be  six  or  eight  star  dressing 
rooms  backstage. 

Outside  of  the  theatre,  Crosby  Gaige  is  interested 
in  farming,  having  a  200-acre  farm  in  Westchester 
county,  where  he  breeds  Guernsey  cattle;  in  books, 
for  which  he  scours  the  world;  in  pictures,  for  which 
he  searches  likewise.  He  is  a  member  of  the  Union 
League  Club  of  New  York  and  the  Graphic  of  London. 
When  he  has  nothing  else  to  do,  he  plays  golf. 

Despite  these  many  activities,  however,  very  little 
is  ever  heard  of  Crosby  Gaige  as  a  theatrical  man, 
for  while  not  possessing  a  dislike  for  publicity,  he  is 
not  of  the  temperament  that  seeks  it.  Here  and 
there,  in  a  transfer  of  property  or  the  forming  of  a 
new  corporation,  his  name  will  crop  out.  But  even 
these  instances  are  rare,  by  reason  of  the  fact  that 
dummies  are  generally  used. 

Show  business  might  be  divided  into  classes — one 
consisting  of  promoters  and  producers,  and  the  other 
of  business  men.  Crosby  Gaige  belongs  to  the  latter, 
which  is  the  foundation  and  rock  bottom  of  the 
theatrical  world,  although  the  spotlight  seldom 
glimmers  upon  anyone  so  connected.  However,  with 
a  200-acre  farm  in  Westchester,  and  the  endorsement 
of  Sol  Bloom,  he  should  worrv. 


Sam  Harris  and  the  3  "T's" 

The  life  story  of  a  man  who  will  not  let  any- 
thing get  in  the  way  of  his  sense  of  humor. 

By  BERNARD  SOBEL 


L\TE!  Sam  H.  Harris  was  late.  It  was 
twelve  o'clock  and  he  was  due 
-'promptly  for  this  interview;  but,  con- 
trary to  arrangements,  he  did  not  appear. 
The  minutes  passed  by  determinedly.  The 
office  force  apologized  repeatedly  and  pro- 
fusely. Yet  the  truth  could  not  be 
concealed:    Mr.  Sam.  H.  Harris  was  late. 

Finally,  after  at  least  a  twenty-minute 
tardiness,  he  walked  in  cheerfully  and 
announced  in  very  clear  tones: 

"I  am  not  at  all  sorry  because  I  am 
late.  "  Then  he  rubbed  his  hands  together, 
briskly  as  if  he  were  warming  himself 
before  a  cozy  fireplace. 

"I  beg  your  pardon,"  I  stuttered,  con- 
fused. "Did  you  say  that  you  were  not 
sorry  because — 

"Exactly.  I  came  in  late  on  purpose. 
I  wanted  to  prove  to  you,  once  and  for  all 
time,  that  I  am  not  the  kind  of  man  who 
lives  by  a  code  of  popular  proverbs. 
Popular  proverbs  are  injurious  to  humor, 
and  positively  I  will  not  let  anything 
get  in  the  way  of  my  sense  of  humor. 
Successful  men,  of  course,  are  always 
supposed  to  follow  rules  like  'Early  to 
bed  and  early  to  rise,'  but  I  never  do. 
What  success  I  have  had,  I  made  by  being 
natural,  having  my  little  joke,  and  working 
like  sixty. 

"I  believe  that  the  fellow  with  a 
sense  of  humor  is  a  lucky  man,  for  humor 
means  more  than  money.  It  is  the  best 
'prop'  in  times  of  adversity  and  doubt. 
When  George  M.  Cohan  and  I  were  in  the 
theatrical  business  together,  we  got  more 
laughs  out  of  our  failures  than  out  of  our 
successes.  We  always  joked  each  other 
about  them. 

'  '  How  in  the  world  did  we  ever  happen  to  pick  out 
this  show  for  a  winner?'  Cohan  would  ask  with  mock 
seriousness;  then  both  of  us  would  get  busy  trying  to 
prove  a  comical  alibi. 

"Nevertheless,  this  sense  of  fun  had,  I  know,  a  defi- 
nite effect  on  my  business  career.  You  see,  when  I  was 
a  youngster,  in  the  primary  grades,  I  started  out  to 
make  my  fortune.  My  first  job  began  with  the  letter 
T — telegraph  messenger.  I  was  very  proud  of  such  an 
important  post  and  especially  proud  of  the  A.D.T.  cap. 

"My  duties  were  limited,  at  first,  to  the  immediate 
district,  but,  after  a  time,  they  permitted  me  to  deliver 
stock  certificates  to  some  of  the  larger  brokerage  houses. 
This  experience  gave  me  my  first  knowledge  of  large 
money-values  and  my  first  desire  to  be  a  money-maker 
myself. 

"The  fact  that  I  was  associating  daily  with  promi- 
nent people,  however,  made  me  somewhat  conceited. 
But  not  for  long.  A  humorous  magazine  brought  me  to 
my  senses.  It  contained  a  picture  of  a  messenger  boy, 
just  like  myself,  sitting,  sound  asleep,  in  front  of  a  door- 
way, with  a  neglected  telegram  in  his  hand.  Underneath 
this  picture  were  the  words,  'A  Case  of  Kidnap. '  Well, 
that  picture  brought  me  to  my  senses.  I  decided  that 
I  would  abandon,  at  once,  a  profession  that  could  be 
made  to  appear  so  ridiculous. 


SAM   Jri.   irtAKKib 

"That  very  day,  I  went  to  Miner's  Bowery  Theater 
and  asked  the  doorman  if  he  could  use  a  first-class  errand 
boy. 

"  'Sure,  bud,'  he  said,  shortly,  giving  me  a  quick 
optical  inventory. 

"The  answer  came  so  fast  that  it  scared  me.  But  I 
touched  my  hat  out  of  respect  to  his  dignity  and  followed 
him  back  of  the  stage.  I  was  so  happy  that  I  felt  I  was 
in  a  dream.  I  was  afraid  that  at  any  moment  my  guide 
would  turn  around  and  run  me  out,  just  as  if  I  had  been 
caught  stealing  under  a  circus  tent. 

"Once  back  of  the  stage,  though,  I  took  permanent 
possession  and  have  never  given  up  possession  since  that 
moment.  At  first,  I  was  somewhat  intimidated  by  the 
actors,  especially  those  in  the  more  important  roles. 
But  I  soon  found  them  a  generous,  sympathetic  group. 
Evidently  they  were  badly  in  need  of  an  errand  boy,  for 
they  soon  had  me  busy  chasing  out  for  cosmetics,  laun- 
dry, sandwiches,  and  all  sorts  of  things. 

"They  were  thoughtful  and  always  gave  me  extra 
money  for  carfare — which  I  saved,  however,  and  went 
on  foot,  even  though  I  was  afraid  sometimes  to  pass 
dark  alleys  and  empty  lots.  My  mother  was  astonished 
at  the  size  of  my  earnings  until,  one  day,  she  discovered 


in 


the  condition  of  my  shoes.      Then  she  gave  me  a  vigorous 
lecture  on  saving  carfare  and  wearing  out  shoes. 

"My  personal  acquaintance  with  actors  was  the  di- 
rect cause  for  starting  my  theatrical  career.  I  found 
that  actors  had  a  great  deal  of  leisure  time  between 
rehearsals  and  engagements  and  that  they  were  very 
glad  to  make  a  little  extra  money  whenever  they  could. 
I  decided,  therefore,  after  some  time,  to  organize  a  small 
company.  I  knew  it  was  best  to  give  'turkey  shows'; 
that  is,  special  performances  on  Sundays  and  holidays, 
in  towns  in  nearby  districts  which  had  no  theaters  of 
their  own. 

"  I  was  then  in  my  teens  and  I  must  have  managed  to 
make  a  businesslike  impression,  for  the  actors  agreed 
to  work  with  me  on  a  co-operative  plan.  As  a  result,  I 
was  soon  striding  into  railroad  stations  and  buying  half 
a  dozen  railroad  tickets  at  the  same  time  while  all  the 
loungers  gazed  at  me  enviously  because  of  my  acquaint- 
ance with  people  of  the  stage. 

"But  the  'turkey  shows'  did  not  prove  very  successful. 
Something  unexpected  and  comical  would  always  hap- 
pen just  in  time  to  spoil  things.  For  instance,  I  took 
George  Sidney,  now  in  my  production  of  'Welcome 
Stranger, '  as  the  head  of  a  vaudeville  show  which  I 
intended  giving  in  some  little  town,  where  I  rented  for 
the  performance,  the  hall  of  the  Independent  Order  of 
Red  Men.  When  I  got  there,  however,  someone  else 
was  using  the  hall,  so  I  had  to  use  the  only  other  avail- 
able place — the  ball  ground.  It  proved  an  excellent 
place  for  a  performance  until  we  discovered  that  the 
entire  audience  was  coming  in  free  of  charge,  by  simply 
climbing  under  the  fence. 

"Angry  as  I  was,  I  couldn't  help  laughing  at  the  sight 
of  men,  women  and  children  squeezing  themselves  under 
that  fence.  It  would  have  taken  a  whole  regiment  of 
police  to  have  kept  that  crowd  out.  Our  loss,  by  the 
way,  including  fares,  was  ninety-five  cents. 

"Nevertheless,  these  'turkey  shows'  eventually  led 
to  very  large  financial  returns.  They  were  the  direct 
cause  of  my  partnership  with  A.  H.  Woods.  We  pro- 
duced 'turkey  shows'  with  a  regular  company.  This 
time,  we  put  on  melodrama  with  remarkable  success. 
We  supplied  sufficent  blood,  thunder,  lost  wills,  wronged 
heroines,  and  hissed  villains  to  thrill  the  nation.  Many 
of  our  plays,  now  in  stock,  are  still  thrilling  a  wide  range 
of  audiences. 

"Where  did  I  get  the  money  to  go  into  play  pro- 
ducing? Why,  through  the  towel  industry — the  sec- 
ond T  in  my  history.  The  towels  were  a  mere  accident. 
One  day,  I  saw  this  '  want  ad  ' : 

"  '  Wanted — Hustling  young  man,  not  afraid  of  work. 
Good  salary  and  commission  to  the  right  party.'  I 
applied  immediately  and  landed  the  job  which  proved 
to  be  something  new  and  original — supplying  towel  and 
soap  service  for  office  buildings.  This  is  the  very  same 
service  that  thousands  of  firms  now  use,  but,  in  those 
days,  few  heard  of  such  a  service.  The  first  day  I  went 
out,  I  sold  the  service  to  sixteen  people.  The  next  day, 
to  thirty-two.  When  I  handed  in  my  orders,  my  em- 
ployer looked  at  me  seriously  and  said: 

"  'Thank  you,  very  much.  You  have  done  very 
good  work.    You  are  fired. ' 

'  'Why,  what's  the  matter?'  I  asked,  astonished. 
'Haven't  I  done  good  work?     What  do  you  mean?' 

"  '  I  mean  that  I  haven't  capital  enough  to  supply  so 
many  orders  at  such  a  quick  rate.  I'll  have  to  slow 
down  a  while  now  until  I  can  catch  up  with  all  these 
new  orders. ' 

"  His  statement  was  literally  true.  Although  he  had 
a  good  business  proposition,  he  hadn't  sufficient  money 
to  finance  it. 

'  '  If  you  take  me  in  with  you, '  I  said,  '  I  '11  get  some 
money  and  some  orders  too. '  The  idea  had  come  to  me 
suddenly  and  I  didn't  realize  at  the  moment  its  full 
significance.  But  he  agreed  at  once;  so  we  worked  out 
a  regular  system.    Then  I  got  some  backing  and  started 


a  real  business.    Orders  came  in  by  the  hundred;    for  I 

invaded   the   telegraph   and   financial   districts   where    I 
had  previously  made  friends  as  a  messenger  boy. 

"Those  were  the  days  when  some  of  the  big  hotels 
were  being  turned  into  office  buildings  and  the  demand 
for  towel-and-soap  service  was  very  great.  We  made 
money  and  it  is  gratifying  to  know  that  this  very  ser- 
vice is  bringing  money  to  my  partner's  widow,  today. 

"Part  of  my  funds  for  producing  plays  came  from 
another  odd  source — prize  fighting.  Sports  had  always 
been  one  of  my  chief  interests  and,  during  my  spare 
moments  I  witnessed  a  number  of  amateur  boxing 
bouts. 

"One  night,  I  saw  a  stirring  fight  put  on  by  a  young 
chap  named  Terry  McGovern.  That  he  had  great 
ability  was  evident ;  but  he  was  working  for  three  dollars 
a  night!  I  knew,  by  instinct,  that  he  was  a  born  fighter. 
I  persuaded  him  to  come  under  my  management.  Then 
I  began  to  arrange  a  schedule  for  him  and,  in  a  surpris- 
ingly short  time,  he  had  made  a  name  for  himself  as  a 
clean  fighter. 

"About  one  year  or  so  later,  I  met  George  M.  Cohan." 

Mr.  Harris  stopped  abruptly,  walked  over  to  his  desk 
and  sat  down.  He  looked  at  me  seriously  and  then 
went  through  the  process  of  rubbing  his  hands  briskly 
together. 

"You  wonder  why  I  stopped  so  deliberately?"  he 
queries.  "Well,  I  had  to  impress  you  with  the  fact  that 
I  had  come  to  the  big  T  in  my  life — the  real  theater.  _  It 
was  at  this  time  that  I  met  Mr.  Cohan.  Our  meeting 
was  a  very  auspicious  one  and  highly  formal.  It  occur- 
red, in  fact,  at  a  picnic  given  by  the  Words  and  Music 
Club.  George  and  I  were  put  on  the  same  ball  team, 
chance  did  the  rest. 

"The  equipment  for  the  game  was  supposed  to  hive 
been  complete  in  every  detail — brand  new  clubs,  uni- 
forms— everything.  But  when  we  started  to  play,  we 
discovered,  to  our  surprise,  that  the  most  necessary 
thing  of  all  was  missing — the  ball. 

"  'Never  mind, 'said  Cohan,  'I  '11  use  an  apple  instead.' 
And  an  apple  he  used  and  so  successfully  that  the  game 
went  on  famously.  He  was  pitcher  and  I  was  catcher. 
By  the  time  the  game  was  over,  we  had  become  staunch 
friends.  Our  friendship  ripened  so  quickly,  in  fact,  that 
after  a  little  confidential  talk,  we  decided  to  go  into 
business  together. 

"  'How  much  money  have  you?'  he  asked. 

"  'None,'  was  my  reply. 

"  'Neither  have  I.' 

"  'Good,'  I  responded,  'we  are  taking  an  equal 
chance.' 

"And  an  equal  chance  it  was — and  it  proved  to  be  a 
very  fortunate  one  for  us.  It  made  us  success! ul;  it 
made  theatrical  history. 

"These  days,  however,  I  am  an  individual  producer; 
but  I  have  a  staff  of  workers  who  have  been  very  loyal 
tome.  Loyalty,  after  all,  is  the  thing  we  need  most.  If 
a  man  has  loyal  friends  and  loyal  helpers,  he  has  won 
his  fight.     My  advice  to  the  ambitious  is  this: 

"Ask  yourself  if  you  have  two  or  three  friends  who 
will  'go  through'  for  you;  that  is,  make  every  possible 
sacrifice  to  insure  your  success.  If  you  have  such 
friends  you  need  fear  nothing.  If  you  have  not,  get 
busy  at  once,  striving  to  win  them.  Cultivate  loyalty 
in  yourself  and,  thereby,  attract  loyalty  to  you. 

"Personally,  I  feel  that  I  owe  certain  obligations  to 
the  public.  I  must  be  loyal.  I  must  give  people  the 
plays  they  like  the  best,  plays  that  are  worthy  and  clean. 
I  want  to  give  good  plays  until — 

Mr.  Harris  broke  off  casually  and  became  somewhat 
introspective. 

"When  the  end  comes,"  he  continued,  "I  guess  I'll 
be  a  poor  man.  Nearly  all  the  producers  become  poor. 
Nevertheless,  the  fight  is  great  while  it  lasts — just  like 
golf.  One  day  it  is  good,  the  next  day  bad.  but  it's 
always  stimulating." 


1  1 


Telegraphic  Greetings  from 

Governor  Len  Small 

of 

ILLINOIS 


GOVERNOR  LEN  SMALL 


SAM.  H.  HARRIS  AND  THE  SELWYNS, 
Chicago,  Illinois. 
I  congratulate  you  gentlemen,  upon  the  completion  of  the  wonderful  new  playhouse 
dedicated  to  the  theatre-loving  public  of  Chicago.  Duties  prevent  my  acceptance  of  your 
courteous  invitation  foCopening  night,  but  I  wish  you  all  success  in  your  effort  to  provide 
wholesome  and  'clean'entertainment  in'a  safe  and  artistic  structure  of  which  any  city  might 
be  proud. 

LEN  SMALL. 


12 


Laugh  Speedists  in  "Six  Cylinder  Love" 


Ernest  Truex  and  June  Walker 
Two  Sam  H.  Harris  stars  who  set  the  pace  for  the  huge  success  of  William'Anthony]McGuire's  tremendous  hit. 


1  5 


The  Selwyns—  Archie  and  Edgar 

(VICE   VERSA) 

Being  the  Story  of  a  Climb  to  Success  after  a  Jump  in 
Despair,  the  Moral  of  Which  Is,  "Cross  Your  Bridge 
When  You  Come  to  It." 

Bv  ROY  L.  McCARDELL 


(Kindness  of  Lewis  Publishing  Co.) 


TH  IS  is  really  the  story  of  two  brothers 
and  a  half,  Edgar  Selwyn,  Archie 
Selwyn,  and  Mike,  their  stepbrother. 

We  will  devote  most  of  the  story  to  Ed- 
gar, however,  for  he  is  the  head  of  the 
house  and  the  handsomest.  In  fact,  when 
the  day  comes  when  we  have  Men's  Rights, 
and  they  will  at  least  let  the  portraits  of  us 
g< »  ullooking  fellow  s  .ih  ei  uate  \\  il  li  I  he 
pictures  of  pretty  girls  on  the  magazine 
covers,  Edgar  Selwyn's  pulchritude  in 
polychrome  will  lead  us  all. 

The  Selwyns  were  a  Cincinnati  family 
and  moved  to  Toronto  when  Edgar  was  a 
schoolboy,  eager  to  learn,  quick  at  his 
studies  and  anxious  to  go  through  high 
school  and  college. 

But  family  vicissitudes  intervened,  for 
while  the  boys  were  still  in  their  'teens 
the  Selwyns  migrated  to  Selma,  Ala.  where 
the  father  and  mother  died,  and  Edgar,  at 
seventeen — this  was  in  1893 — made  his 
way  to  Chicago,  thinking  the  Middle  West 
metropolis,  where  a  World's  Fair  was 
holden,  was  the  place  an  ambitious  and 
energetic  young  man  might  found  his 
fortunes. 

But  it  was  a  time  and  place  for  spenders 
and  not  earners.  Edgar  Selwyn  could  se- 
cure no  employment  and  his  money  gave 
out.  Shelterless,  hungry  and  in  despair, 
he  determined  desperately  to  destroy  him- 
self rather  than  beg  or  to  endure  further 
misery  and  hardship. 

He  picked  him  a  bleak  bridge  at  mid- 
night and  jumped  into  the  Chicago  River. 

In  those  days  the  Chicago  River  had  an 
upper  shell  on  it  like  asphalt,  and  any  one 
falling  or  jumping  against  it  was  liable  to 
sustain  a  fracture. 

Climbing  back  up  on  the  bridge  with  a 
strained  wrist  and  a  badly  bruised  back, 
his  clothes  dirty  but  not  damp,  young 
Selwyn  found  a  pistol  poked  into  his  face 
and  a  thickset  young  man  standing  over 
him  and  scowlingly  demanding  his  money  or  his  life. 

Young  Selwyn,  who  had  no  money  and  who  had  just 
tried  to  dispose  of  his  life,  brushed  the  tears  of  self-pity 
and  pain  from  his  eyes  and  burst  into  laughter. 

"What  are  you  holding  me  up  for?"  he  demanded, 
when  he  could  calm  himself  to  speak. 

"Because  I  am  broke!"  snarled  the  gunman. 

"Broke,  and  having  a  fine  revolver  like  that?" 
gasped  our  hero.  "Come,  let's  hock  it  and  stake  our- 
selves." 

They  got  six  dollars  on  the  pistol.  Then  the  gunman 
and  his  victim  fed,  bathed,  bought  clean  collars,  had  a 
good  night's  sleep  in  a  cheap  hotel,  and  the  next  day 
the  gunman,  an  amateur  at  sticking  up,  as  young 
Selwyn  was  at  suicide — or  he  would  have  known  better 
than  to  even  try  to  dent  the  Chicago  River — got  jobs. 

The  amateur  holdup  man  is  now  a  substantial  ticket 
speculator,  keeping  well  within  the  law,  and  Kdgar 
Selwyn,  if  not  a  millionaire,  is  well  on  the  way. 

When,  in  collaboration  with  Roi  Cooper  Magrue, 
Edgar  Selwyn  put  this  episode  of  on  the  bridge  at  mid- 
night into  the  play,  "  Rolling  Stones,  "  all  the  hard-boiled 
eggs  murmured:     "What  an  improbable  situation!" 


ARCHIE  SELWYN 

Like  S.  L.  Rothafel  and  other  subjects  of  this  series 
of  select  success  stories,  Edgar  Selwyn  sold  books  on 
the  installment  plan,  but  found  this  a  dead  method  of 
gaining  a  livelihood. 

The  year  1894  found  Edgar  Selwyn  in  New  York, 
where  he  got  a  job  as  usher  at  the  Herald  Square  The- 
atre. To  ush  is  all  right,  but  it  is  not  a  vocation  that 
makes  the  filling  out  of  one's  income  tax  return  a  com- 
plex matter,  so  Edgar  Selwyn,  then  nineteen,  got  with 
William  Gillette  in  a  small  part  in  "Sherlock  Holmes." 

Edgar  received  $35  per  week  for  his  histrionic  efforts, 
and  he  sent  for  his  brother,  Archie,  and  staked  the 
younger  brother  out  of  the  weekly  $35. 

Meanwhile  the  half-brother,  Mike,  had  arrived  in 
New  York  also,  and  had  gotten  a  job  as  stage  manager 
for  Willie  Hammerstein  at  the  Yictoria  Theatre.  This 
position  Mike  strenuously  held  on  to  while  Willie  Ham- 
merstein lived  and  the  old  Victoria,  of  the  varieties  and 
the  legitimate,  endured. 

Being  young,  handsome,  graceful,  and  having  the 
manners  of  a  Chesterfield,  and  a  singularly  clear  and 
pleasant  voice,  Edgar  Selwyn  progressed  as  an  actor. 
He  played  good  roles  with  £.  H.  Sothern,  and  in  time 


14 


was  cast  for  the  part  of  Tony,  the  Mexican  vaquero,  in 
Augustus  Thomas's  "Arizona." 

In  this  last  role  he  made  a  pronounced  hit,  and  from 
that  on  he  was  placed  among  the  leading  actors  of 
the  American  stage. 

The  parts  he  has  enacted  since  then  include:  Felix, 
in  "A  Gentleman  of  France";  .Tacky,  with  Fthel 
Barrymore  in  "Sunday";  Jose,  with  Maude  Adams 
in  "That  Pretty  Sister  of  Jose's";  Dr.  Ranck,  in  "A 
Doll's  House";  Donald  Burnside,  in  "Popularity," 
and  the  leading  roles  in  many  of  his  own  plays, 
such  as  "Pierre  of  the  Plains,"  and  "The  Arab." 

Edgar  Selwyn's  first  effort  at  play- 
wrighting  was  a  one-act  piece,"  A  Night 
in  Havana,"  which  was  presented  as  a 
curtain  raiser  with  a  stock  company  which 
he  was  managing  in  Rochester,  some 
fifteen  years  ago. 

"A  Night  in  Havana"  was  a  good  one- 
act  play,  and  encouraged  by  its  reception, 
he  wrote  "The  Rough  Rider's  Romance," 
"A  Friend  in  Need  "  and  "  Father  and  Son.  " 
But  it  was  not  until  "The  Country  Boy, " 
which  he  wrote  and  presented  in  1910, 
that  he  had  established  himself  as  a  play- 
wright. Next  followed  "I'll  Be  Hanged  If 
I  Do,"  written  for  and  in  collaboration 
with  William  Collier;  "The  Arab,"  in 
1911;  "The  Wall  Street  Girl,  "  for  Blanche 
Ring,  written  in  collaboration  with 
Margaret  Mayo  and  "The  Crowded  Hour," 
in  collaboration  with   Channing   Pollock. 

Now,  all  the  while  handsome  brother 
Edgar  was  going  on  from  usher  to  actor 
and  from  actor  to  playwright,  brother 
Archie  was  building  up  a  business  as  a 
playbroker.  He  is  the  business  man  of 
the  family,  and  some  seven  or  eight  years 
ago  he  found  himself  with  a  thousand 
dollars  in  the  bankroll  and  his  eye  open  for 
an  opportunity.  Word  came  from  Chicago 
that  Bayard  Veiller's  play,  recently  pro- 
duced here  by  William  A.  Brady  and 
others,  had  received  some  good  notices, 
but  was  getting  poor  audiences.  He  took 
a  train  for  Chicago,  saw  the  play,  and 
bought  out  Brady's  interest  for  $10,000, 
paying  the  thousand  in  his  bankroll  down, 
and  wiring  to  New  York  and  borrowing 
the  remaining  nine  thousand  dollars  from 
his    brother    Edgar   and   others. 

Brought  to  New  York,  "Within  the 
Law,"  with  Jane  Cowl  in  the  leading  role, 
was  the  outstanding  smashing  hit  of  the 
season,  and  made  a  fortune  for  its  owner 
and  established  the  fame  of  its  author. 

"Within   the  Law"   was  the  beginning 
of    the    better    fortunes   of   the    Selwyns. 
They  made  so  much  money  out  of  it  that 
they  were  able  to  hold  on  determinedly  as  producing 
managers  when  their  next  two  productions  failed. 

Of  these,  one  was  "The  Girl  and  the  Pennant," 
featuring  Christy  Mathewson,  star  baseball  player  and 
idol  of  the  Polo  Ground  fans;  and  the  second  was  a 
dramatization  of  Owen  Johnson's  successful  novel  of 
girlish  gold  diggers,  "The  Salamander." 

Meanwhile  William  Harris,  Jr.  had  produced  a  com- 
edy by  Salisbury  Fields  and  Margaret  Mayo  called 
"Twin  Beds.  "  It  was  produced  at  the  Fulton  Theatre, 
and  in  its  second  week  Willie  Harris  was  heard  to 
mutter:  "I'm  going  to  call  this  play  'The  Folding 
Bed,'  and  close  it  up!" 

Urged  on  by  Margaret  Mayo,  the  Selwyns  bought 
"Twin  Beds."  They  got  it  cheap.  The  night  they 
took  it  oyer  the  receipts  jumped  $400,  and  kept  right 
on  mounting  up. 

"Twin  Beds"  has  netted  the  Selwyns  in  the  neigh- 
borhood of  a  million  dollars,  and  it  is  still  rented  out  for 
the  road  and  in  stock,  and  brought  a  mattress  full  of 
money  to  them  in  motion  pictures. 

Now  the  Selwyn's  have  three  fine  new  theatres  all 
their  own  and  all  in  a  row  on  Forty-second  street;  have 
a  new  theatre  in  Chicago  and  the  Selwyn  in  Boston; 
plays  in  New  York  and  plays  on  the  road  and  everything. 


In  the  affairs  of  the  Selwyns,  Edgar  has  the  vision 
and  Archie  cares  for  the  cash.  He  doesn't  care  too 
much  for  it,  because  his  willingness  to  take  a  chance 
against  any  odds — if  the  chance  seems  good  to  him — 
gives  Edgar  many  an  anxious  moment. 

Sometimes  Edgar  and  Archie  quarrel  about  these 
things  and  sometimes  they  quarrel  about  others,  but 
Archie  believes  Edgar  is  the  finest  actor,  playwright 
and  brother  in  all  the  world,  and  Edgar  believes  Archie 
is  the  best  business  man  and  far-seeing  theatrical 
manager  in  the  universe. 

Edgar  was  bitten  harder  by  the  dancing  bug  than 
any  living  man  since  the  days  of  St.  Vitus.    Archie  can't 


EDGAR  SELVVVN 

S2g  that  stuff.  He  goes  in  for  exerciss  without  musicj 
shoots  a  good  game  of  golf,  and  is  a  bear  at  handball. 

To  a  great  extent  Edgar  and  Archie  divide  their 
theatrical  activities  by  the  curtain,  Edgar  staying  be- 
hind it  and  Archie  in  front  of  it. 

Edgar  is  cool  and  calm,  and,  since  the  memorable 
incident,  previously  recorded,  he  has  never  crossed  a 
bridge  till  he  has  come  to  it.  Archie  is  excited  and  turbu- 
lent, and  while  he  wouldn't  jump  off  a  bridge  he  would 
endeavor  to  jump  over  it. 

Both  Edgar  and  Archie  are  loyal  to  old  friends  and 
those  who  have  helped  them,  even  to  the  cherishing  of 
kindly  memories  of  them.  Ever  since  they  have  had 
offices,  humble  or  sumptuous,  the  portraits  of  their 
father  and  mother  have  always  occupied  the  places  of 
honor  on  the  wall. 

In  their  hearts  also  they  keep  ever  the  memory  of 
that  best  and  ablest  of  earnest  men,  Charles  ("Pink") 
Hayes,  who  helped  them  to  build  up  their  business  from 
the  struggling  days  when  they  brought  "Within  the 
Law"  to  New  York  on  hope,  hazzard  and  borrowed 
money. 

The  motto  of  the  S2lwyns  is  ths  motto  of  the 
Three  Musketeers:  "All  for  one,  and  one  for  all." 


15 


"TWIN  THEATRES  bring  glory  to  the 
City  of  Chicago." 

Says 

State's  Attorney 

Robert  E.  Crowe 


STATE'S  ATTORNEY   ROBERT  E.  CROWE 


It's  not  an  hour  tor  words;  it's  one  for  enthusiasm,  and  the  new  Twin  Theatres  are  re- 
sponsible for  the  joys  that  the  playgoers  find  in  what  this  dedication  means.  Rightly  the  new" 
structures  are  "For  the  Glory  of  Chicago" ;  edifices  that  not  only  the  City  of  Chicago  is  proud 
of  but  I  know  the_whole  of   Illinois  will  be.     Congratulations  to  the  enterprising  owners." 

STATE'S  ATTORNEY  ROBERT  E.  CROWE. 


16 


Being  Square  With  "The  Circle" 


Mr.  John  Drew  renews  familiar  abilities. 
Mrs.  Leslie  Carter  ripens  remembered  talents. 


17 


OUR  MAYOR 


WM.  HALE  THOMPSON 


MAYOR  OF  CHICAGO 


18 


"The  Twin  Theatres 


55 


Each  Holds  Settings  for  the  Drama  Befitting  Its  Place  In  the  Realn 
of  Art — Luxury,  Comfort  and  Ease  the  Paramount  Idea  In  Design 
Architectural  Inspirations  Furnished  by  England  and  Italy. 


By  WALTER  S.  DUGGAN 


THERE  SEEMS  to  be  a  wonderful  misunder- 
standing among  the  majority  of  architects  of  the 
present  day,  as  to  the  very  nature  and  meaning 
of  Originality,  and  all  of  which  wherein  it  consists. 

Originality  in  expression  does  not  depend  on  inven- 
tion of  new  words;  nor  originality  in  poetry  on  invention 
of  new  measures,  nor,  in  painting  on  invention 
of  new  colors,  or  new  modes  of  using  them.  The  chords 
of  music,  the  harmonies  of  color,  the  general  principles 
of  the  arrangement  of  sculptural  masses,  have  been 
determined  long  ago,  and  in  all  probability,  cannot  be 
added  to  any  more  than  they  can  be  altered. 

And  thus  do  we  hurriedly  go  on  with  our  vein  of 
thought  until  history  assures  us  that  the  art  of  the 
Thirteenth  Century  was  the  foundation  of  all  art — not 
merely  the  foundation  but  the  root  of  it;  that  is  to  say, 
succeeding  art  was  not  merely  built  upon  it  but  is  all 
comprehended  in  it,  and  is  developed  out  of  it.  Passing 
that  historical  Century,  history  further  refers  us  to 
three  successive  branches  developed  from  it,  in  each  of 
the  three  following  Centuries.  The  Fourteenth  Century 
was  pre-eminently  the  age  of  Thought;  the  Fifteenth 
the  age  of  Drawing,  and  the  Sixteenth  the  age  of  Paint- 
ing. 

Observe,  first,  the  Fifteenth  Century  was  pre-emi- 
nently the  age  of  Thought.  It  began  with  the  first 
words  of  the  poem  of  Dante.  Sufficient  in  number  are 
the  names  of  marvelous  artists,  who  adorned  this  Centu- 
ry in  Italy  but  it  can  be  more  easily  recalled  as  the  age 
of  Dante — the  age  of  Thought. 

The  men  of  the  succeeding  Century  felt  that  they 
could  not  rival  their  predecessors  in  invention,  but 
might  excel  them  in  execution.  Original  thoughts  be- 
longing to  this  Century(the  Fifteenth)  were  completely 
rare;  even  Raphael  and  Michael  Angelo  themselves 
borrowed  all  their  principal  ideas  and  plans  of  pictures 
from  their  predecessors  but  they  executed  them  with 
a  precision  up  to  the  time  unseen.  History  guides  us  to 
the  information  of  the  Fifteenth  Century  as  having  been 
the  age  of  Leonardo,  Michael  Angelo,  Lorenzo  Ghiberti, 
and  Raphael, — pre-eminently  the  age  of  Drawing. 

The  Sixteenth  Century  produced  the  four  greatest 
Painters,  that  is  to  say,  managers  of  color,  that  the 
world  has  ever  seen;  namely  Tintoreto,  Paul  Veronese, 
Titian  and  Correggio.  Naming  of  this  quartet  is  suffi- 
cient to  call  the  Sixteenth  Century  the  age  of  Painting. 

Searching  back  in  the  distant  Centuries,  the  archi- 
tects of  the  Twin  Theatres,  C.  Howard  Crane  and 
H.  Kenneth  Franzheim,  employed  the  Thought  of  the 
Fourteenth  Century;  the  Drawing  of  the  Fifteenth 
Century,  and  the  Painting  of  the  Sixteenth  Century  to 
achieve  perfect  ideas  which  were  later  rolled  into  proper 
affiliation  with  tasteful  selections  of  the  following  centu- 
ries until  they  were  all  grouped  and  met  face  to  face 
with  the  skilled  workmanship  of  the  Twentieth  Century. 

A  man  who  has  the  gift  will  take  up  any  style  that  is 
going,  the  style  of  his  day,  and  will  work  in  that,  and  be 
great  in  that,  and  make  everything  that  he  does  in  it 
look  as  fresh  as  if  every  thought  of  it  had  just  come 
down  from  heaven.  It  is  not  to  be  inferred  that  he  will 
not  take  liberties  with  his  material,  or  with  his  rules. 
Neither  is  it  to  be  insinuated  that  strange  changes  will 
not  sometimes  be  wrought  by  his  efforts,  or  his  fancies 
in  both.  But  those  changes  will  be  sometimes  marvel- 
ous; and  those  liberties  will  be  like  the  liberties  that  a 
great  speaker  takes  with  the  language,  not  a  defiance  of 
the  rules  for  the  sake  of  singularity,  but  inevitable, 
uncalculated  and  brilliant  consequences  of  an  effort  to 
express  what  the  language,  without  such  infraction, 
could  not. 

Very  fitting,  therefore,  in  these  days  of  ostentatious 
"palaces"  erected  by  the  majority  of  theatre  owners, 


particularly  those  in  the  cinema  field,  it  is  with  a  sense 
of  relief  that  one  finds  such  theatres  as  the  Selwyn  and 
Harris,  where  the  sole  aim  has  been  one  of  simplicity 
and  sincerity  in  the  use  of  material..  An  effort  has  been 
made  to  achieve  luxury,  comfort  and  ease  but  to  avoid 
the  tinsel,  sham  and  make-believe  so  long  associated 
with  the  theatre,  and  to  use  instead  the  very  finest  ma- 
terial in  order  to  produce  a  setting  for  the  drama  befit- 
ting its  place  in  the  realms  of  art. 

Thus  Chicago, — The  Wonder  City, — has  today  an 
unchallenged  institution  in  the  Twin  Theatres,  two 
perfect  temples  of  the  seven  arts  of  the  stage,  thoroughly 
functioned  in  erection  after  a  common  sense  under- 
standing of  what  is  meant  by  Originality. 

Modesty  attends  the  Twin  Theatres  openings  but 
after  all  there  is  an  under-current  of  pride  which  no  one 
could  possibly  confuse  with  conceit.  The  Twin  Theatres 
mean  something  more  than  merely  new  theatres  in 
Chicago.  Our  Great  Metropolis,  patriotically  saturated 
with  the  "I  Will"  spirit,  has  seen  other  theatres  built 
and  opened.  The  significant  thing  behind  the  Twin 
Theatres  is  that  it  is  the  most  important  move  towards 
equipping  the  faithful  playgoers  of  this  city  with  the- 
atres that  can  be  looked  upon  as  institutions  in  pointing 
with  pride  to  the  many  civic  undertakings  in  the 
Progress  of  Chicago. 

Chicago  may  well  be  proud  of  having  been  the  birth- 
place of  the  Twin  Theatres, — the  joining  of  hands  of 
America's  foremost  theatrical  producers,  the  Selwyns 
and  Sam  H.  Harris.  Is  it  not  accurate  in  a  hurried  des- 
cription of  the  Twin  Theatres  to  claim  Chicago  stands 
alone  in  the  United  States  or  in  the  world,  for  that 
matter,  of  being  the  only  city  having  Twin  Theatres  for 
the  highest  form  of  art? 

The  building  operations  were  conceived  and  begun 
in  the  complex  difficulties  of  labor  unrest  with  commer- 
cial and  industrial  chaos  to  contend  with.  Here  it  is 
most  proper  to  congratulate  Crosby  Gaige  for  his  most 
wonderful  manipulation  of  situations  that  were  heart- 
rending at  times,  yet  so  triumphantly  and  skillfully 
functioned  that  it  isn't  exaggerating  to  say  Mr.  Gaige 
stands  alone  as  a  genius  in  the  matter  of  promoting 
such  an  institution  as  the  Twin  Theatres  completed  are 
brilliantly  credited  with  being. 

In  the  making  of  a  model  institution  like  the  Twin 
Theatres  a  thousand  elements  combine  with  which  the 
average  playgoer  is  unfamiliar.  Space  forbids  a  com- 
plete detailed  account  of  placing  the  credit,  the  smallest 
particle  of  it,  to  where  it  could  be  joyously  and  rightly 
tabulated  in  this  hour  of  greeting.  The  Longacre  Con- 
struction Company  is  to  be  credited  with  the  major 
work  in  the  construction  of  the  Twin  Theatres.  The 
skilled  workmanship  as  accomplished  in  every  trade 
affiliated  with  the  Institution  is  bewildering  and  conveys 
positive  assurance  that  the  management  of  the  Twin 
Theatres  has  gone  to  enormous  expense  in  having  their 
ideas  of  what  they  wanted  to  give  the  Chicago  public, 
fully  fulfilled.  To  the  credit  of  Charles  Hunter  Bettts 
must  go  honorable  mention  of  the  highest  rank  for 
tasteful  selections  in  designs  and  decorations. 

The  exterior  of  the  Twin  Theatres  speaks  for  itself, 
being  edifices  that  will  be  points  of  interest  for  the  sight- 
seers in  our  Wonder  City.  Poetical  expressions  could 
bs  employed  to  describe  the  impressions  that  the  exte- 
rior of  the  Twin  Theatres  inspires  but  again  simplicity 
and  sincerity  forms  the  passing  comment. 

The  interior  of  the  Selwyn  Theatre,  while  Georgian 
in  general  character,  with  the  influence  of  Grinling 
Gibbons,  has  a  freedom  from  rigid  period  exactness 
which  helps  to  give  an  air  of  quiet  genuineness  in  perfect 
harmony  and  accord  with  the  period  represented. 
(Continued  on  pige  twenty-oie) 


19 


LONGACRE    ENGINEERING    AND 
CONSTRUCTION    COMPANY 


INCORPORATED 


Building  Construction 


UNITY    BUILDING 
CHICAGO 


GENERAL  CONTRACTORS  FOR  THE  TWIN  THEATRES 


20 


(Continued  from  page  nineteen) 

The  entire  walls,  from  the  carpeted  floors  to  the 
coffered  ceilings,  are  of  the  finest  English  walnut,  espe- 
cially selected  for  grain  and  texture.  The  walls  are 
divided  into  large  panels,  devoid  of  all  carving,  except 
for  'the  over-box,  cornice  and  proscenium  treatments, 
the  effect  being  achieved  by  the  beauty  of  the  wood 
itself.  In  contrast  to  the  soft  brown  tone  of  the  walls, 
the  ceiling  is  an  elaborate  coffered  pattern,  in  perfect 
scale,  executed  in  antique  gold  and  greens,  mellowed  by 
the  patina  of  time.  The  lighting  fixtures  hanging  from 
the  ceiling  and  in  the  boxes  are  of  the  finest  old  cut 
crystal  and  gold.  The  boxes  and  proscenium  are  hung 
with  exquisite  green  and  gold  French  silk  damask, 
draped  in  simple  folds  and  avoiding  the  elaborate  fes- 
toons, cascades,  and  voluminous  valances  ordinarily 
seen  in  theatres.  The  whole  effect  is  one  of  simple  rich- 
ness, such  as  is  found  in  the  homes  of  the  most  discrimi- 
nating. 

The  effect  of  luxury  has  been  carried  throughout 
the  whole  theatre  in  the  lobby,  foyers,  lounges,  smoking 
rooms,  ladies'  boudoirs,  manager's  office,  and  even  in 
the  spaces  to  which  the  general  public  has  no  admittance. 

The  main  lounge  room  in  the  basement  is  one  of  the 
finest  examples  of  English  Georgian  in  the  country.  The 
wood  paneled  walls  are  painted  in  a  parchment  color 
that  makes  a  perfect  background  for  the  unusually  fine 
collection  of  furniture  and  paintings.  The  soft  blues  of 
the  Adams  consoles,  painted  in  the  manner  of  Angelica 
Kauffman,  harmonize  perfectly  with  the  neutral  tone  of 
the  walls,  the  paintings,  and  the  coloring  of  the  needle- 
point and  tapestry.  In  fact,  the  whole  color  scheme  of 
the  room  is  so  perfectly  balanced  that  it  may  be  likened 
to  a  musical  composition  worthy  of  Rubenstein  or 
Tschaikowsky. 

The  ladies'  boudoir  adjoining  the  lounge  on  the  north 
is  finished  in  a  soft  apple  green.  The  furniture  is  in 
parchment  tone,  illuminated  by  delicate  decorating  in 
the  manner  of  the  Venetian  furniture  of  the  sixteenth 
century. 

The  men's  smoking  room,  while  Georgian  also  in 
character,  is  finished  in  a  more  robust  manner.  The 
paneled  walls  are  in  old  ivory,  and  the  furniture  is  wal- 
nut with  deep  seated  divans  and  chairs  covered  with 
fine  tapestry. 

The  lounge  and  ladies'  boudoir  on  the  mezzanine 
floor,  arranged  for  the  balcony  patrons,  are  finished  as 
beautifully  as  the  remainder  of  the  theatre.  The  walls 
of  the  lounge  are  paneled  in  the  same  walnut  as  the 
auditorium,  and  the  simple  groined  ceiling  is  frescoed 
with  medallions  and  vignetted  figures. 

The  ladies'  boudoir  is  done  in  a  soft  lavender  tone 
and  the  furniture  is  delicately  painted,  as  is  that  in 
the  boudoir  on  the  lower  floor. 


In  fact,  the  whole  collection  of  furniture,  paintings, 
and  "objets  d'art"  is  one  worthy  of  a  place  in  any 
museum,  and  volumes  might  be  written  on  individual 
pieces. 

The  Harris  Theatre  has  been  designed  as  has  its 
twin,  the  Selwyn,  with  the  paramount  idea — luxury, 
comfort  and  ease. 

The  interior  treatment  here  is  also  of  wood,  but  the 
architectural  style  is  entirely  different.  Instead  of 
going  to  England  for  his  architectural  inspiration.  Mr. 
Harris  has  gone  to  Italy,  the  land  of  sunshine,  music, 
and  romance — the  land  of  Verdi  and  Donizetti,  whose 
names  emblazon  the  cartouches  in  the  frieze  of  the 
auditorium.  Here,  instead  of  drawing  from  the  eight- 
eenth century,  Mr.  Harris  has  gone  back  into  history 
two  centuries  earlier,  to  Florence  at  the  zenith  of  its 
culture  and  artistic  exuberance  and  splendor,  and  has 
taken  his  inspiration  from  the  palazzos  of  the  old  Floren- 
tine podestas.  But  while  the  theatre  is  in  the  style  of 
the  Florentine  school,  it  also  is  in  no  sense  a  stupid 
reproduction. 

The  walls  are  paneled  in  dark  Italian  walnut,  em- 
bellished with  elaborate  intarsia  and  gold  ornament. 
The  box  treatment,  as  a  contrast  to  the  dark  mellow 
tones  of  the  walnut,  shows  an  antique  gold  and  poly- 
chrome balcony  window,  hung  with  the  richest  oxblood 
tassels  in  the  form  of  baldichinos. 

The  ceiling  is  a  handsome  coffered  one  done  in  gold, 
embellished  with  the  richest  colors,  all  antiqued  and 
toned  down  into  an  effect  of  quiet  beauty.  The  whole 
theme  is  one  of  utmost  richness  and  refinement,  and  is 
carried  throughout  the  entire  theatre. 

The  main  lounge  room  in  the  basement,  with  the 
ladies'  boudoir  and  the  men's  smoking  room  adjoining, 
is  identical  in  plan  to  that  of  the  Salwyn,  except  for 
the  ladies'  boudoir,  which  is  Georgian  in  style,  the  re- 
mainder is  Florentine.  The  main  lounge  and  the 
smoking  room  are  reproductions  of  rooms  in  the  Davan- 
zati  Palazzo  in  Florence. 

The  walls  are  finished  in  palmed  plaster  in  both 
rooms.  The  main  lounge  room,  with  its  large  fireplace 
and  its  wood  beamed  ceiling  illuminated  in  colors,  has 
the  genuineness  of  the  original  rooms  in  the  Davanzati 
Palazzo.  The  furnishings  of  both  rooms  are,  for  the 
most  part,  reproductions  of  the  actual  furniture  used 
there.  The  paintings  and  smaller  objects  of  decoration 
are  originals. 

The  mezzanine  lounge  is  carried  out  in  a  similar 
spirit.  The  walls  are  of  stone,  and  the  ceiling  is  groined 
and  decorated  with  fresco. 

In  all  America  there  is  not  a  more  artistic,  honest, 
worthy,  sane,  laudable,  trustworthy  and  thoroughly 
progressive  Institution  than  the  Twin  Theatres, — the 
gift  of  Sam  H.  Harris  and  The  Selwyns  to  the  People  of 
Chicago! 


Three  Memorable  Dates  In  Chicago's  History 

June  28,  1840- 
:.  18,  1922- 
Oct.  9,  1922- 


Sept. 


Opening    ot    Chicago's    first    dramatic    theatre, 
Randolph  near  Dearborn,  by  John  B.  Rice. 

Opening  of  Selwyn  Theatre,  Dearborn   at  Lake 
street,  by  the  Selwyns. 

Opening  of  the  Harris  1  heatre,  Dearborn  at  Lake 
street,  by  Sam  H.  Harris. 


21 


Degrees  of  Safety 


TN  choosing  a  bank  you  should  seek  the  highest  degree  of 
-*■  safety.  The  statement  of  a  bank's  condition  is  told  in 
figures,  but  it  is  well  to  know  what  is  behind  the  figures.  In 
learning  the  latter  you  will  also  learn  the  character  and  ability 
of  the  bank's  management. 
Study  of  the  figures  given  will  show  that  this  bank  has  attained 

The  Highest  Degree  of  Safety 

The  stock  of  this  bank  is 
owned  by  the  stockholders 
of  the  Continental  and  Com- 
mercial National  Bank. 


The  combined  resources  of  the 
Continental  and  Commercial 
Banks  are  515  million  dollars. 
$1   starts  a  savings  account. 


CONTINENTAL  wCOMMERCI  AL 
TRUST  and  SAVINGS  BANK 

La  Salle,  Adams,  Quincy  and  Wells  Streets 


22 


« 


1?gdrit?" 


Waterproofing  and  Floor 

Hardening  Material  used 

exclusively  in  these 

Theatres. 


A  few  other  Chicago  users — 

Chicago  Union  Station  Project 

Marshall  Field  &  Co. 

Drake  Hotel 

Blackstone  Hotel 

Continental  &  Commercial  National  Ban] 

McCormick  Estates 


WATERPROOFING   COMPANY 


OF  AMERICA 


RAILWAY  EXCHANGE  BUILDING 


I'IKlXES 


CALUMET  3300 
CALUMET   3301 


Harris 

&  Rodgers 


I >ealers 


Fine  American  and  Foreign 
Automobiles 


1424-1426  S.  Michigan  Avenue 
Chicago 


McGutcheon 
&  Gerson 
Service 

ADVERTISING 

Merchandising  Plans 


64  West  Randolph  Street 
Chicago 


21   Park  Row- 


New  York 


DanaT.  Bennett 
Company 


Designers   and  Printers 

-of- 

Catalogues,  Booklets,  Heralds, 
Cutouts,  Window  and  Tack 
Cards  in  from  one  to  tour 
colors. 


250  West  54th  Street 
New  York  City 


23 


PREMIER  PROGRAM  FOI 


Sam  H.  Harris 

By  arrangement  with  Lewis  &  Gordon — Presents 

"SIX  CYLINDER  LOVE" 

A  COMEDY 

By  WILLIAM  ANTHONY  McGUIRE 

—with— 

ERNEST  TRUEX 

Staged  under  direction  of  Sam  Forrest. 

CHARACTERS 

(In  the  order  in  which  they  speak) 

Geraldine  Burton ELEANOR  GORDON 

Richard  Burton DONALD  MEEK 

Phyllis  Burton ROSE  BURDICK 

Mary MARY  HALLIDAY 

Margaret  Rogers LOUISE  PRESSING 

Bertram  Rogers JACK  LESLIE 

Harold  Winston NICHOLAS  JOY 

Gilbert  Sterling ERNEST  TRUEX 

Marilyn  Sterling JUNE  WALKER 

William  Donroy RALPH  SIPPERLY 

George  Stapleton BERTON  CHURCHILL 

Smith HARRY  HAMMILL 

Tom  Johnson HOWARD  HULL  GIBSON 

ACT       I — The  Suburban  homes  of  Richard  Burton  and  Gilbert  Sterling. 
Long  Island.     Sunday  morning. 

Intermission  9  minutes. 

ACT     II — Living   Room  of   the  Sterling  home.      Several   months  later. 
Evening. 

Intermission  6  minutes. 

ACT   III — The  Sterling  home.     A  month  later. 

For  Mr.  Harris: 

Norman  Houston General  Stage  Manager 

Howard  Hull  Gibson Stage  Manager 


THE  TWIN  THEATRES 

The  Selwyns  Present 

Mr.  John  Drew  and  Mrs.  Leslie  Carter 

-IN- 

THE  CIRCLE 

A  Modern  Comedy  in  Three  Acts 
By  W.  Somerset  Maugham 

CAST 

(In  the  order  of  Their  First  Appearance) 

Arnold  Champion-Cheney,  M.  P ROBERT  RENDEL 

Footman CHARLES  F.  SEALY 

Mrs.  Shenstone PEGGY  PORTER 

Elizabeth CLARA  MOORES 

Edward  Luton JEROME  PATRICK 

Clive  Champion-Cheney ERNEST  LAWFORD 

Butler WALTER  SODERLING 

Lord  Porteous JOHN  DREW 

Lady  Catherine  Champion-Cheney MRS.  LESLIE  CARTER 

Staged  by  Clifford  Brooke. 

Synopsis  of  Scenery 

The  scene  is  laid  in  the  drawing  room  at  Aston-Adey  Arnold 
Champion-Cheney's  house  in  Dorset,  England. 

ACT      I— Morning. 
ACT    II— Afternoon. 
ACT  III — Evening  of  the  same  day. 

The  scene  designed  by  Clifford  Pember;   built  at  Selwyn  Studio. 

Furniture  decorations  by  John  Hutaff,  Inc. 

Mrs.  Carter's  costumes  designed  by  Mrs.  MacHorter  and  executed 

by  Lucille. 
Miss  Moores'  sport  costumes  and  second  and  third  act  frocks  designed 

and  executed  by  Milgrim. 

For  the  Selwyns 

General  Manager John  M.  Welch 

Company  Manager W.  L.  Payne 

Stage  Manager ,  .  Walter  Soderling 


ASK  FOR 
T^HF 

COUTHOUI 

SYSTEM 

AND 

YOU 

GET   THE 

RIGHT 
SYSTEM 


Tickets  for  the  Best  Attractions 
in  Chicago  at  box  office  prices 


ONCE  A 

COUTHOUI 

PATRON 
ALWAYS  A 

COUTHOUI 

PATRON 


OFFICES  AT  ALL  LEADING  HOTELS  AND  CLUBS  IN  CHICAGO 


26 


TELEPHONE  RANDOLPH  6920 


PLAMONDON- GABRIEL  CO 


Painting-Decorating 

Special  Hangings-Furniture 


308     NORTH     MICHIGAN     AVENUE 
CHICAGO 


Chicago's 

New  Twin  Theatres 

HARRIS-SELWYN 

as    well    as    many    other    representative 

buildings  in   Chicago  where  safety  must 

be    assured,    have    installed     Allen     Fire 

Protection  Equipment. 


W.  D.  ALLEN  MFG.  CO. 

566-570  WEST  LAKE  ST. 

CHICAGO,      -      ILLINOIS 


Walton  &  Spencer  Co. 


Printers  and  Lithographers 

1241-124  9  South  State  Street 

CHICAGO 


11 


COMPLIMENTS 

—  of  a  — 

Sincere   Booster 

-  for  the  - 

Twin   Theatres 


NEW  YORK  CITY 


Stage  Equipment  of  This  Theatre  by 

PETER  CLARK 

406-08  West  30th  Street,  New  York 

This  Theatre  Has  the  Most  Modern  Equipment 
for  Handling  Scenery 


I  he  following  is   a   list   of   theatres  in  New  N.  Y.,  Fordham,  Bronx,  N.  Y.,  Providence, 

York  equipped  by  Peter  Clark:     New  York  Providence,  R.  I.,  Syracuse,  Syracuse,  N.  Y. 
Hippodrome,  Metropolitan  Opera  House,  New 

Amsterdam,   Henry    Miller,    Capitol,    Times  l    have  equipped   the   following  theatres  in 

Square,  Apollo  and  Music  Box.  Chicago:     Balaban  &  Katz's  Tivoh,  Chicago, 

Apollo  and  State-Lake  Theatres. 
For    the    B.    F.    Keith    Company,    I    have 

equipped    the    following    theatres:       Palace  Other  theatres  are:     National  Theatre,  Mex- 

Theatre,    New    York,    Prospect,     Brooklyn,  ico  and  National  Theatre,  Havara,  Cuba. 


28 


The  Hidden  Power 

Such  Is  the  General  Manager  of  Theatrical 
Finns  Like  the  Selwyns  and  Sam  H. 
Harris  In  Forming  the  Whole  Suc- 
cess of  Theatrical  Enterprises. 

IT'S  NOT  an 
easy  task  sit- 
t i ng  in  t h e 
general  manager's 
chair  of  a  theatri- 
cal firm.  One  hun- 
dred and  one  mat- 
ter comes  up  with- 
out a  moment's 
warning,  each  re- 
quiring an  instan- 
taneous decision. 
It's  come  to  be 
known  that  the 
strength  of  a  the- 
atrical firm  rests 
with  the  qualifica- 
tions and   calibre 

JACK  WELCH  of    the    indivjflua| 

holding  down  this  office.  Labors  of  the  general  man- 
ager do  not  come  before  the  public  such  as  the  success 
of  "stars,"  but  the  general  manager  is  a  part  of  the 
whole  success  of  both  "star"  and  firm.  It's  the  duty 
of  the  general  manager  to  select  the  time  of  year  and 
the  proper  place  for  "stars"  and  plays  to  obtain  their 
biggest  success.  This  is  done  via  a  clever  handling  of 
the  route  books.  Much  could  be  written  about  the 
responsibilities  of  the  general  manager  but  space  for- 
bids. Suffice  it  to  say  the  office  assists  materially 
in  the  whole  success  of  a  theatrical  firm  by  the  shrewd- 
ness in  which  it  is  functioned. 


In  Jack  Welch  and  Abe  Levy,  the  Twin  Theatres 
have  two  of  the  best  known  and  most  competent  gen- 
eral managers  in  America.  Each  is  versed  in  every 
trick  of  the  responsibilities  of  the  positions  they  so 
ably  execute,  and  it  will  be  upon  their  shoulders  that 
the  duties  to  keep  both  theatres  properly  filled  with 
attractions  that  Chicago  playgoers  desire,  will  fall — 
Levy  for  the   Harris  and   Welch   for   the  Selwyn. 


The  Managers 

Each  of  the  Twin  Theatres  Will  Have  Sep- 
arate Managers,  Who  Will  Work  Joint- 
ly For  the  Success  of  Chicago's 
New  Institution. 

Col.  "Billy"  Roche 

HARRIS 

Col.  "Billy"  Roche  will  be  the  manager  oi  the 
Harris.  It  is  most  fitting  to  use  Tom  Bashaw's  words 
in  the  "Herald-Examiner"  anent  "Billy's"  appoint- 
ment. Wrote  Bashaw:  "'The  departure  of  Col.  ''Billy" 
Roche  from  the  Palace  Music  Hall  management  is  one 
of  those  regrettable  affairs  which  one  finds  hard  to  put 
into  words,  but  the  Orpheum  circuit's  loss  will  be  the 
Harris  theatrical  concern's  gain,  and  when  the  new 
Harris  swings  open  its  door  the  "customers"  will  be 
subject  to  congratulations  as  the  genial,  kindly  Colonel 
smiles  upon  the  inpouring  crowds." 

Manager  Roche  is  versed  in  every  branch  of  the- 
atrical management  and  his  appointment  has  brought 
the  Harris  offices  the  sort  of  congratulations  that  when 
the  playgoers  of  this  city  extend  them  they  mean  them. 


Walter  S.  Duggan 

THE  SELWYN 

It  was  fourteen  years  ago  that  Walter  S.  Duggan, 
the  Selwyns  manager,  first  started  in  the  theatrical 
business  in  Chicago.  Since  that  time  the  new  man- 
ager has  been  affiliated  with  the  stage's  greatest  "stars" 
in  the  role  of  publicity  representative.  It  was  while 
managing  Raymond  Hitchcock  in  "Hitchy-Koo"  in 
Chicago  that  Duggan  enlisted  in  the  army  for  overseas 
service.  After  actual  service  at  the  front,  the  Selwyns' 
manager  received  a  foreign  discharge  in  order  to  be- 
come press  representative  for  the  London  Hippodrome. 
On  his  return  to  America,  Duggan  exploited  the  trans- 
continental tour  of  Jane  Cowl  in  "Smilin'  Thru,"  which 
set  a  record  at  the  Cort  Theatre.  Chicago  has  been 
more  or  less  the  new  manager's  home  for  the  last  ten 
years  and  his  fondness  for  our  Wonder  City  encouraged 
the  Selwyns  to  place  him  here  permanently.  In  addi- 
tion to  the  managerial  duties,  Duggan  will  care  for  t  he 
publicity  of  the  Selwyn  attractions. 


The  Editor  of  the  Souvenir  Program  tried 
in  vain  to  secure  Mr.  Levy's  photo,  but 
even  the  "borrow  or  steal"  system  failed 
to  give  Abe  the  space  he  so  righ  tly  deserves. 


1" 


Avoid  Loss — Add  Comfort  and  Sanitation 

In  the  washroom  much  can  be  done  to  help  or  to  hinder  the  popularity  of  the  theatre. 

ROUSSO'S      INDIVIDUAL 
LOCKED-ON  TOWEL  SERVICE 

The  installation  of  Rousso's  cabinets  and  In- 
dividual Locked-On  Towels  in  the  new  Harris  and 
Selwyn  Theatres  illustrates  the  interest  the  own- 
ers have  for  public  comfort  and  welfare  and 
further  attests  the  popularity  of  this  unsurpassed 
system . 

g^w^^^f  This  service  supplies  a  clean  CLOTH  towel 

for  each  person  each  time  it  is  needed;  a  towel 
that  no  one  has  used  since  it  left  the  laundry  and  no  one  will  use  again  until  it  is  re-washed 
and  sterilized ;  a  service  that  eliminates  the  fire  hazard  which  is  always  present  where  piles 
of  combustible  waste  are  allowed  to  accumulate;  a  service  that  fosters  good  will  in  your 
patrons  and  makes  them  glad  to  come  back. 

Individual  Towel  &  Cabinet  Service  Co. 


Cabinet  Installed  Free. 

Towels  Supplied  at  SI. 50 

Per  Month  and  Up. 


33rd  Street  at  Cottage  Grove  Avenue 
Phone  Douglas  3024 


CHICAGO 


TELEPHONE  SEELEY   7440 

Twenty-six  Years'  Experience  at  Your  Service 

Entire  Box  Office  Equipment  and  Tickets  for 
this  Theatre  Furnished  by 

The 

Arcus  Ticket 

Co. 

348  No.  Ashland  Avenue 
Chicago 

ROLL  [RCESD]  FOLDED 

FOOTBALL  TICKETS   BASEBALL 

Coupon  Books — Numbered  Printing 

Union  Label  Furnished  on  Request 

Best  for  Least  Money 
Quickest  Delivery  Correctness  Guaranteed 


Mrs.   Snyder's 

Home  Made  Candies 

Kitchen  and  Offices 

119  No.  Wabash  Avenue 
Shops 

119  No.  Wabash  Ave. 

20  So.  Dearborn  Street 

30  W.  Washington  Street 

6  So.  Michigan  Boulevard 

218  So.  Michigan  Boulevard 

143   \Y.  Jackson    Boulevard 

Chicaeo 


Chicago's  Mrs.  Snyder  says: 

"I  can't  make  all  the  candy  in  the  world, 
so  I  just  make  the  best  of  it" — neither 
does  she  advertise,  but  she  wishes  to  show 
her  good  will  toward  the  stage  folk  and 
public  by  contributing  for  this  space. 


30 


Announcing 


the  arrival  of  our  new  Fall  and  Winter  woolens — exclusive  patterns 
in  fine  English  worsteds — real  Huddersfields,  genuine  Bannockburn 
—king  of  all  Scotch  tweeds,  and  Donemars — celebrated  homespuns 
from  Ireland.  A  complete  assortment  of  the  best  known 
American  fabrics. 

Come  in  and  look  over  the  beautiful 
new  shades — you'll  see  many  of  your 
favorites  in   the   latest   patterns. 


JmAMiAp 


THREE  STORES 
71  East  Monroe  7  North  La  Salle 

and.  our  new  store 

157  North  Michigan  at  Randolph 


Compliments 

UNITED 

Theatre  Ticket  Office 

City  Hall  Square  Hotel 


MISS  CLARA  GURNEY 
MORTIMER  SUCHARD 


PHONES  RANDOLPH; 


(0021 
0022 


TYSEN 

THEATRE  TICKET   SERVICE 

INC. 

UNION  HOTEL 

72  W.  RANDOLPH  STREET 

CHICAGO 


Every  Prominent  Attraction,  Theatre  and  Show  in  the  United  States  uses 

CUTS  AND  MATS 

Made  by 

"PHIL"  P.  BENEDICT  ENGRAVING  COMPANY 

1400  Broadway  New  York  City 

''Phil"  Is  Known  From  Coast  to  Coast. 

Theatrical  Work  A  Specialty 


31 


Our  Successful  Record 


The  Sel'wyn  and  Harris 
Theatres  are  two  of  the 
many  downtouun  buildings 
on    which    the   AMERICAN 

Bond  &  Mortgage 

COMPANY  has  handled  the 
First  Mortgage  Bond  issues, 
and  represent  a  part  of  our 
long  Successful  Record. 


During  the  twenty  years  the  American  Bond  &  Mortgage  Company 
has  been  in  business  many  thousands  of  investors  thruout  the 
United  States  have  purchased  from  us  many  millions  of  dollars  of 
First  Mortgage  Bonds,  secured  by  improved  city  properties,  and 
without  the  loss  of  one  dollar. 

Many  of  these  investors  have  not  only  received  full  payment  of  principal  and 
interest  but  in  addition  they  have  enjoyed  substantial  premiums. 

During  wars,  panics  and  depressions  as  well  as  in  periods  of  prosperity  we  have 
always  made  a  market  for  our  offerings  altho  not  having  obligated  ourselves  to 
do  so.  This  has  enabled  our  customers  to  realize  on  their  bonds  before  maturity 
when  they  had  need  for  their  money. 

Bonds  purchased  from  us  have  paid  the  highest  interest  return  compatible  with 
safety.  The  full  benefit  of  the  interest  rate  received  has  always  been  passed 
on  to  the  investor. 

Our  Past  Performance  is  Your  Future  Assurance 
Write  for  Edition  S-H  of  "Our  Successful  Record" 

American  Bond  &  Mortgage  Company 

INCORPORATED 
Capital  and  Surplus  Over  $2,500,000 

127  N.  Dearborn  Street  562  Fifth  Avenue 

Chicago  New  York 

Detroit  Grand  Rapids  Rockford  Davenport  Columbus  Cleveland 


32 


How  William  Anthony  McGuire 
Climbed  the  Heights 

To  Authorship    A  Chicago  Boy  Who  Has  Won  Big  Honors. 


IN  THESE  DAYS  of  fierce  competition 
to  reach  the  ever  reading  and  always 
eye-open  public,  it  is  something  to 
move  up  to  the  front  rails  and  stick  there. 
It  is  all  the  more  achievement  when  the 
success  deals  with  a  play  that  could  stay 
in  the  Broadway  district  for  a  solid  year 
and  to  big  business.  Such  an  achievement 
must  be  credited  to  William  Anthony 
McGuire  whose  clever  "Six  Cylinder  Love  " 
proves  that  the  author  knows  what  people 
want  and  knows  how  to  write  it  for  them. 

Mr.  McGuire  had  the  old  hard  and  fast 
struggles  of  the  writer.  Listen  to  what  he 
s*ys: 

"My  first  play,  entitled  the  "Walls  of 
Wall  Street,  "  was  produced  at  South  Bend, 
Ind.  while  I  was  a  student  of  Notre  Dame. 
The  two  leading  parts  were  played  by  Allan 
Dwan  (then  a  professor  at  Notre  Dame) 
and  myself .  Outside  of  a  very  good  perfor- 
mance— by  Dwan —  and  the  loss  of  my 
moustache  during  act  two,  there  is 'really 
nothing  about  that  production  worth  re- 
cording. Shortly  after  this  production, 
with  no  actual  reason  for  so  doing,  I  deci- 
ded that  I  was  a  playwright,  and  with  a 
keen  foresight,  I  perhaps  did  not  realize  at 
the  time,  I  started  out  to  protect  my  career 
by  becoming  dramatic  critic  of  the  South 
Bend  News.  I  don't  know  of  any  newspa- 
pers that  ever  requested  the  syndicate 
privilege  of  printing  my  criticisms,  but  I 
do  recall  that  I  gave  many  an  author  and 
actor  tons  of  encouragement  because  I 
never  wrote  a  destructive  criticism,  and 
for  this  reason  my  reviews  did  not  attract 
any  special  attention  and,  in  due  course,  I 
was  relieved  of  my  position. 

"Thereafter,  I  wrote  the  "Heights"  for  Frank 
Keenan.  This  play  held  the  record  for  New  York's 
longest  run  until  the  advent  of  "Lightning,"  having 
lasted  -one  more  consecutive  week  on  Broad wav. 
After  that,  a  very  good  book  written  by  James  Medill 
Patterson,  entitled  "Rebellion"  inspired  my  play  "The 
Divorce  Question.  "  I  thought  Mr.  Patterson's  book  so 
well  written  that  I  felt  his  theme  might  be  generally 
accepted  through  the  force  of  his  literary  ability.  Dis- 
agreeing with  his  theme,  I  wrote  an  answer,  and  this  was 
the  play  "The  Divorce  Question."  I  don't  know 
whether  Mr.  Patterson  considered  my  play  an  answer, 
but  the  public  liked  my  story.  The  play  ran  almost  an 
entire  season  in  Chicago,  and  four  companies  subse- 
quently presented  it  on  the  road.  After  this  I  wrote 
"  Everyman's  Castle,  "  which  after  a  year's  tour  with  an 
all  star  cast,  became  "The  Good  Bad  Woman."  Until 
you  asked  to  chronicle  my  plays,  I  had  happily  forgotten 
this  incident. 


WILLIAM  ANTHONY   McGUIRE 

'■Then  I  wrote  a  play  for  A.  H.  Woods,  of  which 
"Peace"  was  the  theme.  A  general  international  fight 
destroyed  my  thesis.  After  that  I  wrote  "Six  Cylinder 
Love."  The  critics  have  been  very  generous  to  this 
play,  and  the  public  more  so.  True,  some  of  the  critics 
have  accused  me  of  employing  "hokum"  to  obtain  my 
results,  but  I  defy  them  to  write  a  play  reflecting  Ameri- 
can life  without  resorting  to  this  so-called  "hokum," 
because  what  is  so  commonly  designated  is  the  American 
way  of  living.  For  instance,  it  was  not  an  author  who 
discovered  the  banana  peel  as  the  means  of  a  laugh,  nor 
is  it  far  fetched  to  say  that  bad  coffee  has  been  the 
beginning  of  many  a  domestic  squabble. 

"  Hokum"  has  been  a  very  much  misapplied  word, 
because  after  reducing  it  to  its  finest  meaning,  which 
does  it  describe  the  more  accurately,  Charlie  Chaplin 
fighting  in  a  pastry  shop  .  .  hitting  someone  with  a 
custard  pie  .  .  or  Petruchio  in  the  "Taming  ol  the 
Shrew"  throwing  a  side  of  beef  at  a  valet." 


33 


Buick  Motor  Cars 

Sold  in   Chicago 
by 

James  Levy  Motors  Co. 


Fourteen  Models 


Priced  from 


$960.00  to  $2,342.00 


Michigan  Avenue  at  23rd   St. 
Phone  4626  Calumet 


PORTRAITS 

—  BY  PHOTOGRAPHY  — 

A  portrait  of  husband  or  father, 
as  he  is  today,  is  one  priceless 
possession,  which,  probably,  you 
will  never  have  —  unless  YOU  ar- 
range a  sitting  for  him. 

Phone  Harrison  7588 

Lewis-Smith 

prices  are  not  excessive. 

Lewis-Smith 

Studio 

BLACKSTONE  HOTEL 

MICHIGAN    AVE. 
AT  SEVENTH  ST. 

C/ucago 


F.  P.  SMITH 

Wire  and  Iron  Works 


General  Offices 
and  Shops: 

Fullerton.  Clybourn  and 
Ashland   Aves.,  Chicago 

Telephone  Lincoln  jooo 


We  make  a  specialty  of  High  Class 

Ornamental  Iron  and  Bronze 

for   Theatre  Buildings 


ESTABLISHED  1884 

Branch  Office:    175  N.   Dearborn   St. 
Telephone  Central   0439 


Contractors  for  Selwyn -Harris,  State- 
Lake,  Woods,  Apollo,  Blackstone,  Ill- 
inois and  Colonial  Theatres,  Chicago; 
the  Hippodrome  and  Keith's  Theatre, 
Cleveland, Ohio;  the Shubert Theatre, 
St.  Paul,  Minn.;  Capitol  Theatre, 
Davenport,  Iowa;  James  Theatre, 
Columbus,  Ohio,  and  many  others. 


34 


De  Jonghe's 

CHICAGO,   ILL. 

Hotel  and  Restaurant 

J.  A.  HICKEY,  Pres.  and  Mgr. 

Cuisine  Francaise 
Specialties  Known  All  Over  the  World 

After  Theatre  Parties  a  Specialty 

—  DANCING  — 

12  E.  MONROE  ST. 

PHONE  RANDOLPH  2144— "CALL  EMIL" 


Telephones  Down   Town  Good    Storage    Facilities 

Franklin  5244  

Franklin  22.57  Prompt  Service 

Franklin  .5714 


Central  Transfer 
Company 

Inc. 

AUTO  TRUCK  SERVICE 
Theatrical  Work  Our  Specialty 

Largest  Theatrical  Transfer 
in   the  World 


Contract  Work  by  Day  or  Week 
Solicited 

D.  E.  LAWLER,  Manager 


Office— Room  10 

125-127  NORTH  WELLS  STREET 

Enterprise  Building 


THE  H.  C.  MINER  POSTERS  HAVE  STOOD  THE 
TEST  FOR  MANY  YEARS 

THEIR  steadily  increasing  demand  and  popularity  in  the 
trade  are  proof  of  the  lithographing  craftsmanship  of  every 
poster  bearing  a  Miner  trade-mark  —  an  identification  of 
better  advertising. 

The  H.  C.  Miner  Lithographing  Co. 

General  Office  and  Plant 

518-534  West  26th  Street  New  York,  N.  Y. 


35 


The 
Wrecking,  Excavating 

-  and  - 
Foundation     Work 

on  the 
TWIN     THEATRES 

done  by 

W.  J.  Newman 
Go. 

19  No.  Curtis  Street 
Chicago 

TELEPHONE  MONROE  ,?2.?2 


Big  Special  Offer! 


a 


DOWN 

k 

Puts 
this  beautiful 
new     mode 
"Best"  Lamp 
in  your  home. 


Our  salesman  is   in  your  neighborhood. 
Watch  for  him.      He  will  leave  one  for 

Free  Trial 

without  obligating  you  in  any  way — call 
Randolph  1280,  Local  165— or  call  at  the 

E  COMMONWEALTH  EDISON  O 
LECTRIC  SHOPi3 

72  WEST  ADAMS  ST.  CHICAGO 


P.  IZENSTARK 


SPORTING  GOODS 


•*► 


HUNTING— GOLF— FOOTBALL  AND 
BASEBALL  OUTFITS 

GUNS— AMMUNITION— FISHING    TACKLE 

42  So.  Clark  St. 

CHICAGO 


36 


Broadcasting  Selwyn  News 

Julia  Chandler,   Publicity   Director  for  the  Selwyns,  Keeps 
Constant  Tab  on  the  Public  Consciousness  of  Two  Continents 


JULIA  CHANDLER 


N  A  BIG,  buff-paneled 
office,  at  the  top  of  the 
Selwyn  Theatre  Build- 
ing in  the  heart  of  the 
theatrical  district  ot 
New  York  City,  a 
young  Southern  woman 
sits  at  a  big  square  desk 
broadcasting  news  of 
one  of  the  most  active 
and  successful  theatri- 
cal firms  in  the  world. 
This  woman  is  Julia 
Chandler,  and  the  firm 
whose  publicity  she  has 
been  directing  for  the 
past  three  years  is  the 
Selwyns.  Some  fine  day 
when  you  are  in  New 
York,  if  you  will  drop  in 
for  a  chat  with  this  fascinating  bit  of  femininity  who 
keeps  tab  on  the  public  consciousness  of  two  continents 
you'll  hear  some  interesting  things  about  "the  psychol- 
ogy of  reiteration";  the  "value  to  a  producer  of 
public  confidence";  "euphonious  phraseology",  and 
other  such  phrases  which  Mrs.  Chandler  has  applied 
with  phenomenal  success  in  her  job  of  "telling  the 
world  ". 

That  last  is  her  own  graphic  description  of  her  work. 
"The  Selwyns   produce   the   plays,   and   I   tell   the 
world,"  is  the  way  she  tersely  describes  it. 

Mrs.  Chandler  is  singularly  qualified  to  "tell  the 
world"  for  the  Selwyns,  and  to  tell  it  in  a  manner  which 
will  make  it  listen,  for  behind  her  present  work  lie 
twelve  years  of  brilliant  newspaper  and  magazine  suc- 
cess. She  began  her  literary  career,  on  the  Pittsburgh 
Post  as  a  cub  reporter,  and  found  it  about  the  most 
thrilling  experience  which  had  come  into  her  life,  for 
she  came  from  an  old  Southern  family  whose  men  folk 
frown  disapproval  on  women  who  compete  with  them 
in  business  and  professional  life.  When  she,  therefore, 
broke  down  their  prejudice  sufficiently  to  gain  the  oppor- 
tunity to  prove  herself  as  capable  as  her  brothers,  she 
felt  she  had  to  "make  the  grade".  From  Pittsburgh 
she  became  a  special  feature  writer  for  the  Chicago 
Tribune,  spending  four  years  in  this  city  covering 
"Sunday  assignments"  and  contributing  successfully 
to  magazines.  Then  came  seven  years  in  Washington, 
D.  C,  where,  as  a  dramatic  critic  and  editor,  Mrs. 
Chandler  had  ample  opportunity  for  the  study  of  the- 
atrical publicity  and  its  purveyors. 

"In  the  growth  of  the  American  Theatre  there  has 
been  no  factor  more  vital  than  the  evolution  which  has 
occurred  in  the  past  ten  years  in  theatrical  publicity  and 
the  people  handling  it,  "  she  told  the  writer  of  this  sketch 
in  her  New  York  offices  a  couple  of  weeks  ago. 

"During  my  years  in  Washington  I  reviewed  over 
nine  hundred  plays.  Ahead  of  each  of  these  plays  came 
men,  or  women,  so  I  saw  and  talked  with  representatives 
of  theatrical  producers  from  every  section  of  the  world. 
At  the  beginning  of  this  period  I  observed  that  the 
chief  consideration  of  the  press  representative  was  to 
get  space.  It  didn't  seem  to  matter  to  him  whether 
what  was  put  in  that  space  was  calculated  to  help  his 
'show'  and  create  confidence  in  its  producer,  or  not. 
His  ruling  passion  was  a  'showing  for  his  New  York 
office'.  Of  course  the  agent  wasn't  entirely  to  blame 
if  the  firm  he  represented  was  not  sufficiently  astute  to 
know  whether  the  sort  of  publicity  he  put  over  was  a 
help  or  a  hindrance.  In  most  cases  the  New  York  office 
was  too  deluged  with  other  interests  to  take  the  time  or 
trouble  to  know  what  was  being  broadcasted  across  the 
world  in  its  name.  Truth  to  tell  Mr.  New  York  Pro- 
ducer hadn't  thought  very  much  about  the  public 
consciousness  and  the  sort  of  thing  his  agents  all  over 
the  world  were  shoving  into  it  through  the  medium  of 


the  press.  He  hadn't  taken  time  to  figure  out  the  power 
of  the  printed  word  with  a  gullible  public.  The  effect 
upon  his  reputation  as  a  producer  by  the  constant 
repetition  of  tawdry  publicity  had  not  been  driven  home 
to  him. 

"Then,'  said  Mrs.  Chandler,  'he  awakened.  And 
when  he  awakened  the  day  of  the  new  publicity  had 
dawned.  I  don't  know  just  how  it  happened  but  we'll 
imagine  it  was  something  like  this: 

"A  certain  star  told  her  manager  that  she  wanted 
him  to  employ  the  most  capable  writer  he  knew  to 
handle  her  publicity.  'He  must  not  only  have  earned 
his  reputation  as  a  writer  of  character  and  force,  but  he 
must  know  heaps  and  heaps  about  public  consciousness. 
He  must  know  the  value  of  continuously  pounding  into 
that  consciousness  the  right  thought  about  me;  about 
the  play  in  which  I  am  to  appear;  and  about  you  as 
the  producer  of  that  play.  I  want  the  confidence  of  the 
public  to  which  I  play,  and  I  can't  get  it  through  sensa- 
tional stories  about  my  jewels;  the  sort  of  baths  I  take; 
whether  or  not  I  approve  bobbed  hair;  or  if  I  scratch 
my  husband. ' 

"  Mr.  Producer  objected  that  such  a  man  (or  woman) 
would  cost  money.  'Then  there's  no  better  place  to 
spend  it,'  we'll  suppose  the  star,  sane  enough,  to  have 
replied. 

"Then  let's  suppose  that  Mr.  Producer  yielded,  and 
having  had  his  attention  called  to  the  vital  matter, 
watched  the  results  for  this  particular  star  with  this 
particular  play,  and  was  amazed  to  see  the  public 
consciousness  so  reached  by  the  man  he  had  employed 
to  'tell  the  world'  through  the  public  press  that  by 
and  by  the  world  gave  the  player  in  question  an  adora- 
tion based  on  such  lasting  things  as  respect  for  her  art; 
confidence  in  the  producer  managing  her;  assurance 
that  the  play  in  which  she  would  appear  would  be 
always  the  best  obtainable.  And  the  reaction  of  the 
box  office  proved  that  the  player  who  had  thus  begun 
the  era  of  a  new  publicity  in  the  theatrical  world  had 
been  a  thousand  times  right. 

"Now  the  new  publicity  may  not  have  begun  just 
this  way,  but  it  did  happen — even  before  I  gave  up  my 
dramatic  desk  in  Washington — that  Mr.  New  York 
Producer  awakened  to  some  understanding  of  the  im- 
portance of  feeding  the  public  consciousness  with  a  type 
of  publicity  which  would  make  that  public  believe  in 
him.  Somehow  he  came  to  the  realization  that  he  would 
be  judged  according  to  the  manner  in  which  he  was 
represented  in  the  press.  He  found  out  that  it  wasn't 
enough  to  present  the  best  plays  he  could  get  with  the 
best  companies  he  could  engage  to  play  them  and  the 
most  artistic  productions  he  could  have  builded.  He 
had  to  let  the  world  know  he  was  doing  this,  and  had  to 
let  it  know  in  a  way  which  would  make  that  world 
believe  it. 

"  It  was  a  vital  discovery — vital  to  the  producer  and 
as  vital  to  the  public.  Out  of  it  has  grown  a  complete 
evolution  in  the  publicity  departments  of  the  biggest 
theatrical  firms  in  the  world.  The  press  representative 
who  keeps  his  (or  her)  fingers  on  the  pulse  of  the  world 
must  be  a  born  psychologist.  He  must  know  people. 
He  must  have  the  ability  to  write  such  a  good  story 
that  the  Metropolitan  Editor  is  glad  to  get  it,  but  tell 
it  in  such  a  way  that  it  will  forever  reiterate  the  thing 
he  is  trying  to  have  sink  into  public  consciousness.  He 
cannot  do  it  obtrusively.  He  must  have  infinite  tact, 
both  in  his  writing  and  in  his  personal  associations. 
Underlying,  overlying,  and  forever  permeating  his  work 
must  be  his  own  saturation  with  his  purpose,  which  is  to 
win  the  confidence  of  the  amusement-seeking  world  for 
the  firm  he  is  representing.  To  do  this  the  Publicity 
Director  must  have  faith  in  his  firm  and  the  artistic 
value  of  this  firm's  contributions  to  the  theatre.  Other- 
wise he  might  'tell  the  world'  until  Gabriel  blew  his 
trumpet  and  the  world  wouldn't  believe  a  word  of  it." 


37 


THE  WOODWORK  IN 
The  Selwyn  and  Harris  Theatres 

—  was  — 

Manufactured,  Finished  and  Erected 

—  by  - 

Matthews  Bros.  Mfg.  Go. 

MILWAUKEE,  WIS. 

Chicago  Office  New  York  Office 

605  No.  Michigan  Ave.  52  Vanderbilt  Ave. 


The  Lighting  Fixtures 


installed  in  the  magnificent  SELWYN  and  HARRIS    THEATRES 
■were  designed  and  made  in  the  Shops  of 

Victor  S.  Pearlman  &  Company 

under  the  personal  supervision  of  MR.  VICTOR  S.  PEARLMAN. 

Among  the  recent  Chicago  achievements  of  this  firm  are 

-THE  CHICAGO  THEATRE",     "THE   TIVOLI  THEATRE", 

"DRAKE  HOTEL"  (  important  portions), 

-THE  QUIGLEY  MEMORIAL",  and  now  furnishing  the 

-TRIANON"  Dance  Palace.  ' 

An  invitation  is  extended  to  you  to  visit  our  Galleries  when  in  need  of 
special  lighting  fixtures  for  any  purpose. 


^Victor  S.  ^Pearlman  &  Company 

Telephones  Harrison  2707-8-9 

533-535  S.  Wabash  Avenue,  Chicago,  III. 


38 


Three  Chicago  celebrities  telling 

Mayor  John   F.   Hylan 

of  New  York 

what  the  "Twin  Theatres"  mean  as 
a  fulfillment  of  the  "I  Will"  spirit. 


Jerome  Crowley,  Chief  Fitzmorris  and  Parnell  Egan  telling  Mayor  John  F.  Hylan  of 
New  York,  how  proud  Chicago  is  of  the  new  Twin  Theatres.  Mayor  Hylan  replied:  "New 
York  extends  greetings  to  Chicago  for  having  Mr.  Harris  and  the  Selwyns  in  their  midst; 
our  people  in  New  York  are  fully  aware  of  the  splendid  theatre  enterprises  of  these  gentle- 
men on  Forty-second  street.  My  sincere  congratulations  to  the  good  people  of  Chicago  for 
making  it  an  object  for  the  New  York  producers  to  enlarge  their  scope  of  work.  Let  the 
people  of  New  York  and  the  people  of  Chicago  enjoy  the  shows  these  combined  playhouses 
will  offer  while  they  are  good,  clean  shows." 


39 


JOSEPH  G.  GLASER 


^ 


Chicago's  Oldest,  Largest  and  Youngest 

l&Btb  (to  iraUr 


«g 


"No  Misrepresentation 
Built  The  Glaser  Reputation 

1444-48  So.  Michigan  Ave. 


» 


Compliments  of 

A  Friend 


id 


Hearty  Congratulations  from 

Mayor  James  M.  Curley 

of  Boston,  Mass.  for  the  Twin  Theatres. 


MAYOR  JAMES  M.  CURLEY 


City  of  Boston,  Office  of  the  Mayor 

August  29,  1922 
I  assure  you  it  is  a  very  great  pleasure  to  extend  to  Messrs.  Archibald  Selwyn,  Edgar  Sel- 
wyn  and  Sam  H.  Harris,  representative  leaders  of  the  theatrical  profession,  my  hearty  con- 
gratulation upon  the  dedication  of  the  Twin  Theatres  at  Chicago.  No  men  in  America  have 
more  loyally  served  the  highest  and  best  character  of  dramatic  presentation,  and  in  the  dedi- 
cation of  this  beautiful  theatre  I  sincerely  wish  them  not  only  that  prosperity  which  they  so 
eminently  deserve,  but  even  more  than  they  can  now  anticipate. 

JAMES  M.  CURLEY, 

Mayor. 

41 


SAM  H.  HARRIS'  and  IRVING  BERLIN'S 

Mubu  lax  ©tjeatr? 

NEW     YORK 
Is    Now     Playing 

Tie  "MUSIC  BOX  REVUE" 

The  Last   vvora  in  Entertainment 
of  its  Kjna   in    the     vvorla 

COMING  TO  CHICAGO 

MR.  ALEXANDER  CARR  and  MR.  BARNEY  BERNARD 

CONTINUE  TO  OVERSTOCK  THE 
NEW  YORK  LAUGH  MARKET  WITH 
THE     SEASON'S     BIGGEST     HIT 

"PARTNERS 
AGAIN" 

now  piaying  SELWYN  THEATRE  ^  x^ 

DUE  IN  CHICAGO  THIS  WINTER 


42 


The  Treasurers  for  the  "Twin  Theatres" 


AT  THE  HARRIS 


EDDIE  SAUNDERS  —  JAMES  SHEEHAN 


Courtesy  in  a  box  office  contributes  much  to  the  success  of  an  engagement.  Sometimes  this 
fact  is  overlooked.  In  assembling  the  treasurers  for  the  Twin  Theatres,  the  management  sought 
the  qualification  of  courtesy,  for  COURTESY  will  be  the  positive  rule  of  these  theatres.  Play- 
goers who  select  the  Twin  Theatres  for  their  theatrical  joys  are  entitled  to  "At  Home"  atmos- 
phere. If  such  a  feeling  isn't  prevalent,  whether  you  are  a  purchaser  of  tickets  or  merely  ask- 
ing for  information,  the  manager's  office  is  your  redress.  The  four  new  treasurers  were  chosen 
with  a  view  of  making  the  Twin  Theatres'  box  offices  the  leaders  in  theatre  box  office  politeness. 

AT  THE  SELWYN 


SAM  S.  CHON  —  ABE  HALLE 


43 


"MY 
LOVE 
TO 
MY 

FRIENDS 
IN 

DEAR 
OLE 

CHICAGO— 
THIS  NOTABLE 
NIGHT— THE 
OPENING  OF 
THE  TWIN  THEATRES." 

— Peggy  O'Neil 


Back  in  New  York  for  a  brief  stay  after  a  2- 
years'  engagement  in  "Paddy  the  Next  Best 
Thing",  Savoy  Theatre,  London. 


u 


Stars  On  The  Horizon! 


T 


HE  management  of  the  Twin  Theatres  has 
many  pleasant  surprises  in  store  for  the  en- 
joyment of  the  Chicago  playgoers. 


The  new  season  will  not  pass  without  the  always 
welcomed  visit  of  that  beloved  star,  Jane  Cowl. 

Wallace  Eddinger  and  Mary  Nash  will  be  seen  in 
the  highly  successful  Cort  Theatre,  New  York 
hit,  "Captain  Applejack." 

The  Selwyn  Studios  in  New  York  were  damaged 
by  fire  last  week,  several  productions  and  many 
antiques  being  totally  lost. 

Frank  Reicher,  Selwyns  new  stage  director,  had 
Mr.  Ben-Ami  join  him  in  Berlin  to  see  "Du  Wunder- 
lichen  Geschichten  des  Kapellmeister  Kreisler"  which 
the  Selwyns  will  produce  here  under  the  title  of  "The 
Mysterious  Tales  of  Hoffman"  with  Mr.  Ben-Ami  in 
the  title  role. 


IF  there  is  any  advance  news 
wanted  concerning  Sam  H. 
Harris'  or  the  Selwyns'  stars  and 
attractions,  write  the  publicity 
department  of  the  Twin  Theatres 
for  immediate  information. 


Wallace  Eddinger  and  Mary  Nash,  in  "Captain  Applejack." 


Jane  Cowl 

One  of  the  early  attractions  will  be  Barney  Bernard 
and  Alexander  Carr  in  "Partners  Again." 

William  Collier  will  return  to  his  loyal  Chicago 
following  with  "The  Music  Box." 

The  last  effort  in  musical  entertainment,  and 
that's  what  "The  Music  Box"  is,  will  be  a  Chicago 
treat  this  season. 

"It's  A  Boy"  is  another  Sam  II.  Harris  success 
that  is  credited  to  the  fertile  brain  ol  William 
Anthony  McGuire. 

Chicagoans  will  learn  with  interest  of  the  latest 
development  in  the  career  of  one  of  its  most  promising 
buds,  Louise  Prussing,  who  is  the  daughter  of 
Eugene  Prussing,  a  well  known  corporation  lawyer  of 
Chicago.  Miss  Prussing  is  in  "Six  Cylinder  Love.' 
At  one  time  the  Prussings'  home  in  Dearborn  street, 
was  a  center  of  hospitality  for  one  of  the  most  inter- 
esting sets  on  the  North  side.  At  one  time  they  lived 
in  Winnetka  and  there  as  on  Dearborn  street,  some 
of  the  best  known  men  and  women  of  Chicago  were 
their  frequent  callers.  When  Louise  made  her  debut 
she  was  acclaimed  the  most  beautiful  bud  of  the 
season.  Her  hair  was  a  beautiful  spun  gold  color  and 
her  eyes  deep  pools  of  blue  with  lashes  that  were  a 
special  mark  of  beauty. 


45 


IF  YOU 
DON'T 
READ 

VARIETY 

YOU  CANNOT 
CLASS  YOURSELF 
AS  A  BONA-FIDE 
FIRST-NIGHTER! 


VARIETY  reaches  Chicago  every  Friday 
morning,  containing  the  news  of  the 
Theatrical  World  when  it  is  NEJVS. 
Ask  any   dramatic  editor  or  theatre  manager 

in  Chicago. 


i 


Trice 


20  Cents 


New  York  Office 
154  West  46th  Street 


Chicago  Office 
State-Lake  Building 


16 


Compliments 
Amusement  Service  Corporation 


THEATRE  TICKETS?? 


Phone  Randolph  3489 
Harry  N.    Waterfall 

Palmer  House  Lobby 

15   East  Monroe  Street 
Originator  of  Theatre  Ticket  Ser- 
vice in  Chicago 

Phone  Dearborn  3800 
Jack  Horwits 

141    N.    Clark    Street 

Directly  north 
of  Palace  Music  Hall 

Our  Service  Charges 
are  Reasonable 

Phone  State  8400 
Wm.  Friedlander 

Formerly  Ernie  Young's 

53    W.    Randolph    St. 

Opposite  Woods  Theatre 

WIRE- 
PHONE— 

CALL 

Phone  Dearborn  3100 
United  Broadway  Ticket  Service 

63    West  Randolph   Street 
Opposite  Garrick  Theatre 

OFFICE  HOURS 

9  A.  M.  to  9  P.  M. 

Reservations  for  Baseball,  Football  and  other  Amusements 


AMUSEMENT  SERVICE  CORPORATION 


47 


Plans  of  Exits — Twin  Theatres 


48 


i^7 

£H7 


*      «. 


Mv  4 


r.    ■  -  -  *,  * 


■\^#H 


